DOCSLIB.ORG

Numerologinių Technikų Inovacijos XX A. Antrosios Pusės Muzikos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Numerologinių Technikų Inovacijos XX A. Antrosios Pusės Muzikos 3. Rima POvilionienė Lietuvos muzikologija, t. 9, 2008 Rima POVILIONIENË Rima Povilionienė Numerologinių technikų inovacijos XX a. antrosios pusės muzikos kompozicijoje Innovative Digital Technologies in the Musical Composition of the Second Half of the 20th Century Anotacija XX a. kompozicijoje labai išplečiamos matematikos raiškos muzikoje ribos – tai ne tik ankstesnių epochų numerologinės komponavimo praktikos re-evoliucija, bet ir tik šiam laikotarpiui būdingi matematiško muzikos kūrimo būdai. XX a. muzikos komponavimo procesų naujovė – ypač ekspansyvus šiuolaikinių matematikos teorijų, pavyzdžiui, kompleksinių matematinių modelių, tapusių kompozicijos for- maliosios gramatikos forma, taikymas – į muzikos garsų erdvę integruojamos kompiuterinės grafikos, kompiuteriu generuojamų algoritmų implikacijos. Straipsnyje pristatomi matematiški XX a. antrosios pusės muzikos kompozicijos pavyzdžiai; aiškinamasi, kaip konkrečios matematinės procedūros diegiamos į muzikos tekstus. Tai atskleidžiama šio laikotarpio muzikos kompozicijų analizėmis. Reikšminiai žodžiai: muzika ir matematika, šiuolaikinės matematikos elementai, muzikos komponavimo algoritmai, L-sistema, fraktalų, chaoso teorijos, John Adams, Charles Dodge, Tom Johnson, Šarūnas Nakas, Vytautas V. Jurgutis. Abstract In 20th composition the boundaries of mathematical expression in music were notably expanded. It is not only the re-evolution of nu- merological composition practice of the previous periods, but also the way of mathematical composition of this period. The innovation in the processes of 20th-century music composition is particularly expansive application of contemporary mathematical theories, for instance, the application of complex mathematical models, which have become a form of formal grammar of composition: integrated computer graphics, and the implications of computer-generated algorithms in the space of music sounds. The article presents instances of mathematical writing of musical compositions in the second half of the 20th century. It also attempts to find out in what forms concrete mathematical procedures are implemented in musical texts. This is disclosed by analysis of musical compositions of this period. Keywords: music and mathematics, elements of modern mathematics, music composition algorithms, L-system, theories of fractals and chaos, John Adams, Charles Dodge, Tom Johnson, Šarūnas Nakas, Vytautas V. Jurgutis. Įvadas komponavimo procesų naujovė – ir nepaprastai ekspansy- vus šiuolaikinių matematikos teorijų taikymas, pavyzdžiui, Matematikos įtaka muzikai – ilgaamžiškiausias tarp- kompleksinių matematinių modelių taikymas – integruo- dalykinis dialogas, koncentruotu pavidalu pasireiškęs jamos kompiuterinės grafikos, kompiuteriu generuojamų XX a. muzikos komponavimo praktikoje. Remdamiesi algoritmų implikacijos į muzikos garsų erdvę. pastebėjimais, teigtume, jog XX a. komponavimo procesas Pažymėtina, kad XX a. kompozitoriai labai individua- pagrįstas itin fomalizuotomis struktūrinėmis idiomomis, liai pasirenka, manipuliuoja ir diegia į savo kompozicijas kurių konstruktyvus valdymas neretai turi matematinę bei skirtinguose medžiaginiuose ir struktūriniuose lygme- prigimtį. Be to, XX a. kompozicijoje labai išplečiamos nyse naudoja matematines technologijas. Matematikos matematikos raiškos muzikoje ribos – tai ne tik ankstesnių įtaka muzikos komponavimo procesui nemaža dalimi lėmė epochų numerologinės komponavimo praktikos re-evoliu- originalius, XX a. muzikos kompoziciją signifikuojančius cija, bet ir tam tikros novacijos. XX a. kompoziciją galima numerologinio pobūdžio rezultatus. Tai I. Xenakio, K. Jo- įvardyti kaip kokybiškai naują matematikos ir muzikos neso muzikos kompozicijos, paremtos stochastiniais pro- sąlyčio etapą, kuriuo siekiama „subendravardiklinti“ cesais, Markovo grandžių logika; G. Ligeti, V. Jurgučio, muzikinių ir skaitmeninių struktūrų prielaidas. Tokiais Š. Nako, Ch. Dodge’o kompozicijų struktūrinės analogi- „bendraisiais vardikliais“ čia tampa matematiniai grupių jos su fraktalų teorija; chaoso teorijos įtaka G. L. Nelsono, teorijos dėsniai, Markovo grandžių logika, atitinkamai I. Xenakio kūriniams; algoritminės L-sistemos kreivės interpretuojama kaip melodinių procesų dėsnis; kon- tapo muzikos kūrinio grafiniu pirmavaizdžiu arba garsų krečiomis matematinėmis teorijomis pagrįstos muzikos audinio studijos rezultatu G. L. Nelsono, T. Johnsono, temperavimo praktikos (pavyzdžiui, Myhillo dėsnio H. Kyburzo opusuose. taikymas diatoninio garsaeilio intervalų darybai) (Journal Straipsnyje pateikiami matematizuoti XX a. muzikos of Mathematics and Music, 2007, p. 53). XX a. muzikos kompozicijų kūrimo prielaidos tyrimai ir aiškinamasi, 70 3. Rima POvilionienė numerologinių technikų inovacijos XX a. antrosios pusės muzikos kompozicijoje kokiomis formomis konkrečios matematinės procedūros atskirti du algoritminio muzikos komponavimo aspek- diegiamos į XX a. antrosios pusės kompozicinius tekstus, tus: pirma, kaip kompozitorius manipuliuoja pasirinktu analizuojamos muzikos kompozicijos. Aptariami šiuolaiki- algo rit mu, organizuodamas muzikos kompozicijos para- nės matematikos implikacijų pavyzdžiai XX a. muzikoje, metrus; antra, kokie matematinių algoritmų pavyzdžiai remiantis praktiniais pavyzdžiais ir literatūros šaltiniais, taikomi XX a. antrosios pusės muzikos kompozicijoje. skirstomi į keletą tipų, kaip antai: Kompozitoriaus dalyvavimą algoritminės muzikos • algoritminiai procesai – savitas XX a. muzikos kom- kūrimo procese galima apibūdinti dvejopai: pirma, jis ponavimo reiškinys; pasirenka tam tikrą algoritmą, kuriuo koordinuoja atskirus • matematizuota muzikos grafika. Čia dėmesys elementus – garsų aukščius, ritmą, dinamiką; antra, kom- krei piamas į grafines garsų aukščių struktūras, grafinius pozitorius nustato principą, kuriuo vadovaujantis minėti modelius, kurie taikomi kaip komponavimo algoritmas/ muzikos elementai sujungiami tam tikrais santykiais, t. y. pirmavaizdis ir kaip kūrinio struktūrinė interpretacija/ muzikos kūriniui algoritmai gali būti taikomi kaip kom- analizė. Prie matematizuotos muzikos grafikos tipo taip poziciniai kodai, lemiantys vieną ar kelis komponuojamo pat priskiriamas skaitmeninis garsų užrašymas ir skaitme- kūrinio parametrus. ninė notacija, L-sistemos grafika ir struktūrinės kalbotyros Remdamiesi įvairių tyrinėtojų pastebėjimais (Järveläi- įtaka; nen, 2000; Dodge, 1988; Burns, 1994) ir tuo, kokio po- • fraktalų teorijos įtakos reprezentacijos – tyrinėja- būdžio algoritminiai veiksmai taikomi muzikos kūrimui, mi fraktalų geometrijos analogai muzikos kompozicijų išskirtume pagrindinius algoritminius XX a. muzikos struktūrose (pseudofraktališkumas, fraktaliniai paveikslai, komponavimo būdus. Tai: fraktalinis principas kaip komponavimo priemonė); 1. De ter mi nuoti (nu sta ty ti, api brėž ti) algoritminiai • stochastinė muzika, jos praktika, Markovo grandys; procesai – patys įvairiausi konstruktyvūs veiksmai, atlie- • kitų šiuolaikinės matematikos teorijų sklaida kami laikantis konkrečių taisyklių ir atliekami paties (chaoso, tikimybių, transformacijų, grupių teorijų įtaka kompozitoriaus. Kai ku rie tokie algoritmai funk cio nuo ja muzikos komponavimo procesui). me chaniškai, juos leng va atsekti kom po zi ci joje. Kaip matyti, principinė XX a. antrosios pusės kompo- 2. Kompleksiški matematiniai algoritmai. Jų raiška zicijos naujovė yra gar si nių struk tū rų skait me nizacijoms yra sunkiai pastebima, nes dažniausiai susiduriama su naudojami mo de liai, ku rie at ėjo iš formaliosios gramati- sudėtingos kompiuterinės muzikos kompozicijomis, kurių kos, frak ta lų ge o met ri jos, chaoso ir kitų modernių XX a. generavimo procedūrų nustatymas ir analizė įmanoma tik matematikos te ori jų. Tai ir lėmė itin suaktyvėjusios in di- kompiuteriu ir remiantis nuosekliu paties kompozitoriaus vi dua lios kūrėjo kompozitoriaus intencijos, ins pi ra vusios procedūrų atkūrimu (aprašu). Algoritmo sąvoką XX a. ma te ma ti kos, fi zi kos, struktūrinės kalbotyros elementų antrosios pusės muzikoje tyrinėtojai daugiausia sieja implikacijas mu zi kos garsų erd vėje. su matematinių elementų implikacijomis4. Kristine Burns algoritmus muzikoje skirsto smulkiau (Burns, 1. Algoritmo sąvoka XX a. muzikoje 1994, p. 4–6): • stochastiniai procesai – atsitiktiniai, tikimybių XX a. muzikoje algoritminėmis dažniausiai vadinamos procesai. Stochastinių kompozicijų autoriai – I. Xenakis, kompiuteriu sukurtos muzikos kompozicijos; kū rė jo C. Ames, J. Teney; su Markovo procesais eksperimentavo ki ši masis čia kiek įmanoma minimizuojamas. Algoritmo 1 kompozitoriai L. Hilleris, L. Isaacsonas, K. Jones (H. Jär- sąvoką su muzikos sfera imta sieti tik XX a., ją pasiskolinus veläinen teigimu, Mar ko vo gran džių principai nepaprastai iš kompiuterijos ir informatikos. Kristine Burns teigia, jog tinka muzi kinėms me lo di joms generuoti. Järveläinen, algoritmo muzikoje apibrėžimui artimiausia algoritmo, 2000, p. 10); taikomo medicinos srityje nustatant klinikinę diagnozę, • chaotiniai procesai, apimantys fraktalines struktūras. interpretacija – „laipsniškas procesas, <...> kai atsakymas Kompozitoriai, į kūrybą implikavę matematinius chaoso į klausimą kelia kitą klausimą“ (Burns, 1994, p. 2). principus – Ch. Dodge’as, J. Harley, G. L. Nelsonas, A. Alpernas al go rit mi nį mu zi kos komponavimo procesą R. Waschka II ir kt.; vadina „for ma lių pro ce sų nau do ji mu kuriant mu zi ką, kai • gramatikos (angl. grammars) procesai – struktūrinės žmogus dalyvauja minimaliai“2 (Al pern, 1995, p. 1). Itin kalbotyros tyrinėjimų taikymas muzikai. Gramatinius aktyvų
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Evolution of the Performer Composer
    CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music.
    [Show full text]
  • 43558913.Pdf
    ! ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A Systematic Literature Review ! ! ! Master of Science Thesis in the Master Degree Programme ! !Software Engineering and Management! ! ! KEREM PARLAKGÜMÜŞ ! ! ! University of Gothenburg Chalmers University of Technology Department of Computer Science and Engineering Göteborg, Sweden, January 2014 The author grants Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the work electronically and in a non-commercial purpose and to make it accessible on the Internet. The author warrants that he/she is the author of the work, and warrants that the work does not contain texts, pictures or other material that !violates copyright laws. The author shall, when transferring the rights of the work to a third party (like a publisher or a company), acknowledge the third party about this agreement. If the author has signed a copyright agreement with a third party regarding the work, the author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Technology and University of Gothenburg store the work electronically and make it accessible on the Internet. ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A !Systematic Literature Review ! !KEREM PARLAKGÜMÜŞ" ! !© KEREM PARLAKGÜMÜŞ, January 2014." Examiner: LARS PARETO, MIROSLAW STARON" !Supervisor: PALLE DAHLSTEDT" University of Gothenburg" Chalmers University of Technology" Department of Computer Science and Engineering" SE-412 96 Göteborg" Sweden" !Telephone + 46 (0)31-772 1000" ! ! ! Department of Computer Science and Engineering" !Göteborg, Sweden, January 2014 Abstract My original contribution to knowledge is to examine existing work for methods and approaches used, main functionalities, benefits and limitations of 30 Genera- tive Music Composition Software Systems (GMCSS) by performing a systematic literature review.
    [Show full text]
  • Processes and Systems in Computer Music
    Processes Processes and systems and systems in computer in computer music; from music; from meta to matter meta to matter DR TONY MYATT DR TONY MYATT 05 2 The use of the terms ‘system’ and ‘process’ to generate works of music are often applied to the output of composers such as Steve Reich or Philip Glass, and also to Serial composers [1]2 from Schoenberg to Stockhausen, or to the works of experimentalists like John Cage. This may be where these terms are most clearly expressed, in either the material of the work or in the discourse that surrounds it, but few composers would not claim that systematic processes lie at the root of their work, in the methods they use to generate, manipulate, or control sound. The grand narrative of twentieth century classical music to move away from the tonal system of harmony has prompted experimental composers to push at the boundaries of music to discover approaches that create original musics. With the advent of the computer age and the use of computers to control and generate sound, it appeared to many that it was inevitable this new technology might take forward the concept of music. Computers, as we will see, were initially employed as tools that sustained traditional concepts of music, but as Cage hinted in 1959, and maybe for the same reason, perhaps this is now changing. In this essay, I will discuss how these early approaches to systematic process developed a canon of computer music, and in particular algorithmic systems and processes that reflected an underlying vision of what computer technologies were thought to hold in store, from a utopian and rationalist perspective.
    [Show full text]
  • Musique Acousmatique Und Ihre Parallelen Im Pop
    Musique acousmatique und ihre Parallelen im Pop Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von Christian TSCHINKEL am Institut für Musikwissenschaft Begutachter: Ao.Univ.-Prof. Priv.-Doz. Dr. Werner Jauk Graz, 2008 Vorwort und Danksagung Mit seiner charismatischen Vermittlung der systematischen Musikwissenschaft und ihrer psychologischen Relevanz, die unter anderem das Gebiet der elektronischen Medien gleicher- maßen wie das der populären Musikkulturen und Avantgarden umfasst, hat Werner Jauk vor vielen Jahren für mich die Funktion eines Mentors übernommen. Ohne es zu wissen, war ich wohl genau nach solchen Inhalten auf der Suche. Sein Unterricht sowie einige Gastvorträge innerhalb seiner Lehrveranstaltungen übten auf mich eine große Faszination aus, obwohl ich bei weitem nicht immer verstanden habe, was zeitgenössische Komponisten denn „eigentlich so tun“. Im Zuge der Auseinandersetzung mit diesen Themen habe ich den von Dieter Kaufmann ins Leben gerufenen Lehrgang für Computermusik und elektronische Medien an der Universität für Musik und darstellende Kunst Wien für mich entdeckt, dessen Lehrinhalte ich im dreijährigen Studium „wie ein trockener Schwamm“ aufgesogen habe. Zu meiner großen Überraschung brachte mich dieser Unterricht schon bald nach Paris, wo ich das IRCAM, die GRM und das CCMIX besuchen durfte. Viele dieser Erfahrungen fließen heute in meine eigene Musik sowie in diese Diplomarbeit mit ein, weswegen ich meinen herzlichen Dank gegenüber meinem Betreuer Werner Jauk und im Nachhinein auch allen meinen ehemaligen Lehrern der „ELAK-Wien“ für ihren inspirierenden Unterricht aussprechen möchte. Namentlich sind das Igor Lintz-Maues, Peter Mechtler, Wolfgang Musil, Germán Toro-Pérez, Günther Rabl und Tamas Ungvary.
    [Show full text]
  • Computer Music (So Far)
    Computer Music (So Far) Part I. Mainframes Computers have made noises since Eniac was rolled out in 1947. It seems one of the problems with programming the early systems was knowing that everything was operating properly. That's why you see computers in 50s science fiction movies covered in lights. A common trick was to connect a loudspeaker to a key component in the main processor -- this would give tones of various pitches as data moved in and out of the accumulator. As long as a program was running, the tones would change in a random sort of way. A steady pitch meant the program was caught in a loop and needed to be shut down. That's how beedle beep became the signifier of computer operation. The first real music program was written by Max Mathews in the early 1960s. He was working at Bell labs, a research center run by AT&T when they were the phone company. Max was primarily developing more practical things for the phone company (he invented the little square plug, for instance). But he worked on music software in his spare time. He called his software MUSIC, with the different versions indicated by Roman numerals. MUSIC made its first sound in 1957, playing single line tunes. MUSIC II, a year later, had four part polyphony. These ran on the most powerful computer of the day, and took something like an hour of computing time to generate a minute of music. The sound was similar to the tunes played by some wristwatches today. In 1960, MUSIC III introduced the concept of a "unit generator", a subroutine that would create a specific kind of sound and only needed a few numbers from the composer.
    [Show full text]
  • 02 Whole.Pdf (3.027Mb)
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance.
    [Show full text]
  • Origins of the Experimental Music Studios at Illinois: the Urbana School from the Dean
    WINTER 2009 The News Magazine of the University of Illinois School of Music origins of the experimental music studios at illinois: the urbana school From the Dean The School of Music is one of the most respected and visible units in the College of Fine and WINTER 2009 Applied Arts at the University of Illinois, and it is Published for alumni and friends of the School of Music also a vital component of what we are calling the at the University of Illinois at Urbana-Champaign new arts at Illinois, our vision of the college as a The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana- leader in the arts of the future. Champaign and has been an accredited institutional member of the National Association of Schools of Music Throughout the college, we are exploring new since 1933. disciplinary combinations, new definitions of art, and new ways of thinking Karl Kramer, director Edward Rath, associate director and creating. At the same time, we maintain a profound commitment to the Paul Redman, assistant director, business Joyce Griggs, assistant director, enrollment management historical traditions of our art forms. We embrace the notion that the knowl- and public engagement Marlah Bonner-McDuffie, director, development edge arising from the study, interpretation, and creation of art is central to Philip Yampolsky, director, Robert E. Brown Center for World Music the intellectual enterprise of a great university and to the advancement of a David Allen, coordinator, outreach and public engagement great society. Michael Cameron, coordinator, graduate studies B.
    [Show full text]
  • Bibliographie Sculpture Grecque
    CHRONOLOGIE SONORE - DIMENSION PLASTIQUE DU SON SONS – BRUITS – MUSIQUE – ARTS PLASTIQUES (Antoine Parlebas) Début du VIe siècle : Boèce, De Institutione Musicae, texte. VIIe siècle : fondation à Rome de la Schola Cantorum. VIIIe siècle : 1ère notation par des neumes. Début du XIe siècle : Guido d’Arezzo invente une nouvelle méthode de notation musicale. Vers 1260-1280 : Albert le Grand, la mécanique de la phonation et sa tête parlante. 1321 Philippe de Vitry, Ars nova, texte (isorythmie, polyphonie). 1436 Guillaume DUFAY, Nuper rosarum flores, motet. Vers 1450 : Domenico da Piacenza, De arte saltandi et choreas ducendi, traité sur la danse (accord des mouvements du corps sur la musique). Vers 1480 : L'abbé de BAIGNÉ et son orgue à cochons à la cour de Louis XI (Plessis-lès-Tours). 1528 Baldassar CASTIGLIONE, Il Libro del cortegiano [Le Livre du courtisan] (avec ses paroles gelées puis dégelées). 1548 François RABELAIS, Quart Livre (avec ses paroles, cris et bruits gelés et entendus bien après, à la fonte). 1549 Ghiselin DANCKERTS, Ave Maria Stella, partition-échiquier. MATTHIJS DE CASTELEIN, Ballade, « rhétorique extraordinaire » en tableau. 1558 ZARLINO, Institutioni harmoniche, texte (théorie de l’accord parfait). 1559 Pieter BRUEGEL l’Ancien, Le Combat de Carnaval et de Carême, peinture. 1570 Jean-Antoine de BAÏF fonde son Académie de poésie et de musique. 1588 Le chanoine THOINOT ARBEAU et l’orchésographie. Vers 1589 : TABOUROT et l’orchésographie. 1600 Jacopo PERI, Euridice, le 1er opéra. 1607 Claudio MONTEVERDI, La Favola d’Orfeo [La Légende d’Orphée], opéra. 1608 Claudio MONTEVERDI, Lamento d’Arianna [Lamento d’Ariane], madrigal. 1610 Hans HAIDEN et son Geigenwerk, clavier permettant la modulation et la modération du son.
    [Show full text]
  • To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
    FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING
    [Show full text]
  • CMJ 42-3 28-46.Pdf (5.256Mb)
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Composing with Biomemristors: Is Biocomputing the New Technology of Computer Music? Miranda, ER http://hdl.handle.net/10026.1/12704 10.1162/comj_a_00469 Computer Music Journal Massachusetts Institute of Technology Press (MIT Press) All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Miranda, Braund and Venkatesh 1 This is the authors’ own edited version of the accepted version manuscript. It is a prepublication version and some errors and inconsistencies may be present. The full published version of this work appeared in Computer Music Journal 42(3):28-46 after amendments and revisions in liaison with the editorial and publication team. This version is made available here in accordance with the publisher’s policies. Computer Music Journal Miranda, Braund and Venkatesh 2 Music and Biocomputing: Is Music Biotech the New Computer Music? Eduardo Reck Miranda*, Edward Braund* and Satvik Venkatesh* *Interdisciplinary Centre for Computer Music Research (ICCMR) Plymouth University The House Plymouth PL4 8AA United Kingdom {eduardo.miranda, edward.braund}@plymouth.ac.uk [email protected] Abstract: Our research concerns the development of biocomputers using electronic components grown out of biological material. This paper reports the development of an unprecedented biological memristor and an approach to using such a biomemristors to build interactive generative music systems.
    [Show full text]