The Evolution of the Performer Composer
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Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
UBC High Notes Newsletter of the School of Music at the University of British Columbia
UBC High Notes Newsletter of the School of Music at the University of British Columbia Fall 2012 Director’s Welcome Welcome to the fourteenth edition of High Notes, celebrating the recent activities and major achievements of the faculty and students in the UBC School of Music! I think you will find the diversity and quality of accomplishments impressive and inspiring. A major highlight for me this year is the opportunity to welcome three exciting new full-time faculty members. Pianist Mark Anderson, with an outstanding international reputation gave a brilliant first recital at the School in October.Jonathan Girard, our new Director of the UBC Symphony Orchestra, and Assistant Professor of Conducting, led the UBC Symphony Orchestra in a full house of delighted audience members at the Chan Centre on November 9th. Musicologist Hedy Law, a specialist in 18th-century French opera and ballet is, has already established herself well with students and faculty in the less public sphere of our academic activities. See page 4 to meet these new faculty members who are bringing wonderful new artistic and scholarly energies to the School. It is exciting to see the School evolve through its faculty members! Our many accomplished part-time instructors are also vital to the success and profile of the School. This year we welcome to our team several UBC music alumni who have won acclaim as artists and praise as educators: cellist John Friesen, composer Jocelyn Morlock, film and television composer Hal Beckett, and composer-critic-educator David Duke. They embody the success of our programs, and the impact of the UBC School of Music on the artistic life of our province and nation. -
Trimpin Above, Below, and in Between Trimpin
TRIMPIN ABOVE, BELOW, AND IN BETWEEN BELOW, ABOVE, SEATTLE SYMPHONY LUDOVIC MORLOT TRIMPIN Above, Below, and In Between, A site-specific composition Part 1 .............................................................................1:36 Part 2 ............................................................................ 2:55 Part 3 – For Jessika ..................................................... 4:20 Part 4 ............................................................................ 2:34 Part 5 ............................................................................ 6:00 Part 6 ............................................................................ 5:00 Jessika Kenney, soprano; Sayaka Kokubo, viola; Penelope Crane, viola: Eric Han, cello; David Sabee, cello; Jordan Anderson, double bass; Joseph Kaufman, double bass; Ko-ichiro Yamamoto, trombone; David Lawrence Ritt, trombone; Stephen Fissel, trombone TOTAL TIME ............................................................... 22:30 SEATTLESYMPHONY.ORG � & © 2016 Seattle Symphony Media. All rights reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited without prior written permission from the Seattle Symphony. Benaroya Hall, 200 University Street, Seattle, WA 98101 MADE IN USA Photo: Larey McDaniel Larey Photo: SEATTLE SYMPHONY Founded in 1903, the Seattle Symphony is one of America’s leading symphony orchestras and is internationally acclaimed for its innovative programming and extensive recording history. Under the leadership -
Program Notes
NSEME 2018 Installations (ongoing throughout festival) Four4 (1991, arr. 2017) - room 2009 Anthony T. Marasco, Eric Sheffield, Landon Viator, Brian Elizondo ///Weave/// (2017) - room 2008 Alejandro Sosa Carrillo (1993) Virtual Reality Ambisonic Toolkit (2018) - room 2011 Michael Smith (1983) Within, Outside, and Beside Itself:The Architecture of the CFA - room 2013 Jordan Dykstra (1985) Installations Program Notes: Alejandro Carrillo “///Weave///” A generative system of both random and fixed values that cycle over a period of 6 minutes. By merging light and sound sine waves, parameters such as frequency, amplitude and spatialization have been mapped into three sound wave generators or voices (bass line, harmonies and lead) and three waveforms from a modular video synthesizer on MaxMSP aiming to audiovisual synchronicity and equivalence. Jordan Dykstra “Within, Outside, and Beside Itself: The Architecture of the CFA” A performance which plays not only with the idea of lecture-performance as a musicological extension of history, narrative, and academic performance-composition Within, Outside, and Beside Itself: The Architecture of the CFA also addresses how the presenta- tion of knowledge is linked to the production of knowledge through performance. I believe that creating space for new connections through creative presentation and alternative methodologies can both foster new arenas for discussion and coordinate existing relationships between academia and the outside world. A critique regarding how the Center for the Arts at Wesleyan University func- tions as an academic institution, as well as its physical role as the third teacher, my lecture performance playfully harmonizes texts from art historians at Wesleyan University, archaeologists, critical theorists, YouTube transcriptions, quotes from the founder of the Reggio Emilia school, and medical journal articles about mirror neurons. -
Musique Algorithmique
[Version adaptée pour un cours commun ATIAM/CURSUS d’un article à paraître dans N. Donin and L. Feneyrou (dir.), Théorie de la composition musicale au XXe siècle, Symétrie, 2012] Musique algorithmique Moreno Andreatta . La plupart des études sur la musique algorithmique soulignent, à juste titre, le caractère systématique et combinatoire de certaines démarches compositionnelles qui ont accompagné l’évolution de la musique occidentale. De l’isorythmie du Moyen Âge aux musikalische Würfelspiele ou « jeux musicaux » attribués à Johann Philipp Kirnberger, Wolfgang Amadeus Mozart, Josef Haydn ou Carl Philipp Emmanuel Bach, l’utilisation de méthodes combinatoires et algorithmiques n’a pas dû attendre l’« implémentation » informatique pour voir le jour1. Fig 0.1 : « Jeux musicaux » (générés par http://sunsite.univie.ac.at/Mozart/dice/) 1 En attendant un article sur la musique algorithmique dans le Grove Music Online, nous renvoyons le lecteur à l’étude de Karlheinz ESSL, « Algorithmic Composition » (The Cambridge Companion to Electronic Music (Nick COLLINS et Julio D’ESCRIVAN, éds.), Cambridge : Cambridge University Press, 2007, p. 107-125) pour une analyse plus large des procédés algorithmiques. On pourrait penser, et c’est l’hypothèse le plus souvent proposée, que c’est l’artifice de l’écriture qui rend possible l’exploration de la combinatoire. Cela est sans doute vrai dans plusieurs répertoires, des polyphonies complexes de Philippe de Vitry ou Guillaume de Machaut aux œuvres sérielles intégrales de la seconde moitié du XXe siècle. Cependant, comme l’ont bien montré certains travaux d’ethnomusicologie et d’ethnomathématique (voir Marc CHEMILLIER, Les Mathématiques naturelles, Paris : Odile Jacob, 2007), l’utilisation d’algorithmes est également présente dans les musiques de tradition orale – une problématique que nous n’aborderons cependant pas ici, car elle dépasse le cadre de cette étude. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
DVD Program Notes
DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design. -
Third Practice Electroacoustic Music Festival Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 11-3-2017 Third Practice Electroacoustic Music Festival Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Third Practice Electroacoustic Music Festival" (2017). Music Department Concert Programs. 505. https://scholarship.richmond.edu/all-music-programs/505 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. LJ --w ...~ r~ S+ if! L Christopher Chandler Acting Director WELCOME to the 2017 Third festival presents works by students Practice Electroacoustic Music Festi from schools including the University val at the University of Richmond. The of Mary Washington, University of festival continues to present a wide Richmond, University of Virginia, variety of music with technology; this Virginia Commonwealth University, year's festival includes works for tra and Virginia Tech. ditional instruments, glass harmon Festivals are collaborative affairs ica, chin, pipa, laptop orchestra, fixed that draw on the hard work, assis media, live electronics, and motion tance, and commitment of many. sensors. We are delighted to present I would like to thank my students Eighth Blackbird as ensemble-in and colleagues in the Department residence and trumpeter Sam Wells of Music for their engagement, dedi as our featured guest artist. cation, and support; the staff of the Third Practice is dedicated not Modlin Center for the Arts for their only to the promotion and creation energy, time, and encouragement; of new electroacoustic music but and the Cultural Affairs Committee also to strengthening ties within and the Music Department for finan our community. -
Computing While Composing
Computing While Composing Miller Puckette ∗ size and process musical sound. It can be argued that The field of computer music can be thought of the computer has been the one addition to the clas- as having two fundamental branches, one concerned sical orchestra since the advent of percussion early with the manipulation of musical sounds, and the in the twentieth century. This is a great achieve- other concerned with symbolic representations of mu- ment. CGM is now generally accepted, and the sta- sic. The two are iconized by Max Mathews’s MU- tus of a musician in the Mathews tradition essen- SIC program and Lejaren Hiller’s ILIAC Suite, both tially depends on how good his or her output sounds, of 1957, although both have important antecedents. in the same way as that of an orchestral string or The two branches might provisionally be given the wind player. CGM has become a normal, respectable, names “Computer Generated Music” (Denis Baggi’s middle-class occupation. term for it) and “Computer Aided Composition”— The development of CAC, on the other hand, has or CGM and CAC for short. (In France the latter seen a deepening realization that the problems of the is called “Composition Aid´eepar Ordinateur”. The field are much more difficult than they may have ap- corresponding English acronym, “CAC”, is less than peared at first. In hindsight, this should have been mellifluous and someday we should settle on a better obvious to everyone all along: CGM is in effect build- one.) ing instruments (which were previously made of wood As a field, CAC has flown a very different tra- and the like), but CAC is in effect making the com- jectory from CGM. -
Winkler 2021 CV
Curriculum Vitae I. Todd Winkler, Professor Updated January 1, 2021 Co-Director, MEME@Brown (Multimedia and Electronic Music Experiments) email: [email protected] II. Home Address 22 Halsey St. Unit 6 Providence, RI 02906 III. Education .................................................................. 2 IV. Professional Appointments......................................... 2 V. A. Completed Research and Scholarship Books.............................................................. 3 Published Papers ........................................... 3 Music Criticism, Reviews ............................... 4 Invited Lectures and Papers Read..................... 4 B. Creative Work Recordings ...................................................... 7 List of Concert Works and Installations ......... 7 Film and Video Scores ................ 8 Dance Performances......................................... 9 Installation Exhibitions..................................... 10 Music Concerts.................................................... 10 Other Performance and Production Work ......... 12 VI. Research and Creative Work in Progress ......................... 12 VII. Service ............................................................................. 13 XIII. Honors, Awards, Commissions, Grants ............................... 14 IX. Brown University Teaching A. Courses Taught ............................................ 15 B. Graduate Thesis Committees .... 18 C. Undergraduate Advising and Directed Research ...18 D. Curriculum and Program Development -
MTO 20.1: Willey, Editing and Arrangement
Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City. -
Nanc-In-A-Can Canon Generator. Supercollider Code Capable of Generating and Visualizing Temporal Canons Critically and Algorithmically
Nanc-in-a-Can Canon Generator. SuperCollider code capable of generating and visualizing temporal canons critically and algorithmically Diego Villaseñor de Cortina Alejandro Franco Briones UNAM McMaster University [email protected] [email protected] Abstract In the present paper a SuperCollider library designed to produce temporal canons, like the ones proposed by Conlon Nancarrow, is explored in order to create new temporal conceptions within the field of live coding. We will define temporal canon as a composition strategy that allows a poly-temporal audition by expressing a single musical idea at different speeds simultaneously. Likewise, our intention is to socialise the work of Nancarrow, often captured by a reduced academic niche, so it may be integrated into a broader and more di- verse context. In this paper a broad introduction to the library is provided that emphasises some of its sali- ent aspects that overlap with specific interests of live coders. By de-canonising the ideas of Nancarrow and approaching them from a heterodox and unconventional perspective we attempt to unravel understandings of time and rhythm beyond the scope of the music of Conlon Nancarrow as well as the practices of Mexican and international live coding communities. 1. INTRODUCTION “Contrary to common belief, perhaps time does not keep everything from happening all at once, but is the nucleus that holds all the mixed realities together.” Eleni Ikoniadou The program and its use instructions may be downloaded from the platform´s website. In there you can find an installation tutorial (in Spanish) and some links to examples of the program´s use1.