The Interface-Score Electronic Musical Interface Design As Embodiment of Performance and Composition
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A Symphony of Noises: Revisiting Oskar Sala's 'Geräuschmontage'
Journal of Sound, Silence, Image and Technology 7 Número 2 | Desembre 2019 | 7-23 ISSN 2604-451X A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) Julin Lee Ludwig-Maximilians-Universität München, Germany [email protected] Date received:10-10-2019 Date of acceptance: 30-11-2019 KEY WORDS: FILM MUSIC | SOUND DESIGN | SOUND STUDIES | MATERIAL CULTURE STUDIES | ORGANOLOGY Journal of Sound, Silence, Image and Technology | Número 2 | Desembre 2019 8 A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) ABSTRACT accompanying the title sequence has a The soundtrack of Alfred Hitchcock’s The formal structure which resembles a classical Birds (1963) is particularly remarkable, not Hollywood film overture, and takes on only because of the absence of a conven- several expositional roles conventionally tional orchestral underscore, but also assigned to a film’s opening musical pas- because the terrifying sounds of the sage. Furthermore, the gull cries adopt the aberrant birds were actually synthesized by function of a leitmotif, while the stylized bird Oskar Sala using the mixturtrautonium, an sounds perform emotive functions usually electronic musical instrument of his own ascribed to film music. In addition, the design. This paper explores the extent to hostile birds are characterized by electroni- which these electronically synthesized bird cally synthesized bird sounds – a representa- sounds go beyond their diegetic placement tion which can be understood within the as sound effects and take on the dramaturgi- broader context of mankind’s ambivalence cal roles usually ascribed to non-diegetic towards machines and technological film music. -
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. -
The Hell Harp of Hieronymus Bosch. the Building of an Experimental Musical Instrument, and a Critical Account of an Experience of a Community of Musicians
1 (114) Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Music, with specialization in Improvisation Performance Academy of Music and Drama, University of Gothenburg Spring 2019 Author: Johannes Bergmark Title: The Hell Harp of Hieronymus Bosch. The building of an experimental musical instrument, and a critical account of an experience of a community of musicians. Supervisors: Professor Anders Jormin, Professor Per Anders Nilsson Examiner: Senior Lecturer Joel Eriksson ABSTRACT Taking a detail from Hieronymus Bosch’s Garden Of Earthly Delights as a point of departure, an instrument is built for a musical performance act deeply involving the body of the musician. The process from idea to performance is recorded and described as a compositional and improvisational process. Experimental musical instrument (EMI) building is discussed from its mythological and sociological significance, and from autoethnographical case studies of processes of invention. The writer’s experience of 30 years in the free improvisation and new music community, and some basic concepts: EMIs, EMI maker, musician, composition, improvisation, music and instrument, are analyzed and criticized, in the community as well as in the writer’s own work. The writings of Christopher Small and surrealist ideas are main inspirations for the methods applied. Keywords: Experimental musical instruments, improvised music, Hieronymus Bosch, musical performance art, music sociology, surrealism Front cover: Hieronymus Bosch, The Garden of Earthly -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
Studio Bench: the DIY Nomad and Noise Selector
Studio Bench: the DIY Nomad and Noise Selector Amit Dinesh Patel Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy August 2019 Abstract This thesis asks questions about developing a holistic practice that could be termed ‘Studio Bench’ from what have been previously seen as three separate activities: DIY electronic instrument making, sound studio practice, and live electronics. These activities also take place in three very specific spaces. Firstly, the workshop with its workbench provides a way of making and exploring sound(- making) objects, and this workbench is considered more transient and expedient in relation to finding sounds, and the term DIY Nomad is used to describe this new practitioner. Secondly, the recording studio provides a way to carefully analyse sound(-making) objects that have been self-built and record music to play back in different contexts. Finally, live practice is used to bridge the gap between the workbench and studio, by offering another place for making and an opportunity to observe and listen to the sound(-making) object in another environment in front of a live audience. The DIY Nomad’s transient nature allows for free movement between these three spaces, finding sounds and making in a holistic fashion. Spaces are subverted. Instruments are built in the studio and recordings made on the workbench. From the nomadity of the musician, sounds are found and made quickly and intuitively, and it is through this recontextualisation that the DIY Nomad embraces appropriation, remixing, hacking and expediency. The DIY Nomad also appropriates cultures and the research is shaped through DJ practice - remixing and record selecting - noise music, and improvisation. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
Live Performance
LIVE PERFORMANCE LIVE PERFORMANCE AND MIDI Introduction Question: How do you perform electronic music without tape? Answer: Take away the tape. Since a great deal of early electroacoustic music was created in radio stations and since radio stations used tape recordings in broadcast, it seemed natural for electroacoustic music to have its final results on tape as well. But music, unlike radio, is traditionally presented to audiences in live performance. The ritual of performance was something that early practitioners of EA did not wish to forsake, but they also quickly realized that sitting in a darkened hall with only inanimate loudspeakers on stage would be an unsatisfactory concert experience for any audience. HISTORY The Italian composer Bruno Maderna, who later established the Milan electronic music studio with Luciano Berio, saw this limitation almost immediately, and in 1952, he created a work in the Stockhausen's Cologne studio for tape and performer. “Musica su Due Dimensioni” was, in Maderna’s words, “the first attempt to combine the past possibilities of mechanical instrumental music with the new possibilities of electronic tone generation.” Since that time, there have been vast numbers of EA works created using this same model of performer and tape. On the one hand, such works do give the audience a visual focal point and bring performance into the realm of electroacoustic music. However, the relationship between the two media is inflexible; unlike a duet between two instrumental performers, which involves complex musical compromises, the tape continues with its fixed material, regardless of the live performer’s actions. 50s + 60s 1950s and 60s Karlheinz Stockhausen was somewhat unique in the world of electroacoustic music, because he was not only a pioneering composer of EA but also a leading acoustic composer. -
Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue. -
Sound American | SA Issue 6: Five Questions with Nicolas Collins
SOUND AMERICAN ABOUT THIS ISSUE JULIUS EASTMAN'S PRELUDE TO JOAN D'ARC + TOM JOHNSON'S RATIONAL MELODIES + GÉRARD GRISEY'S PROLOGUE TO LES ESPACE ACOUSTIQUE + ANTOINE BEUGER'S KEINE FERNEN MEHR + STEVE LACY'S DUCKS + FOUR SAXOPHONES ON BODY AND SOUL FIVE QUESTIONS: KURT GOTTSCHALK ABOUT OUR CONTRIBUTORS STORE SUBSCRIBE TO DRAM ARCHIVE OF PAST ISSUES + SA Issue 6: Five Questions with Nicolas Collins FIVE QUESTIONS WITH NICOLAS COLLINS Nic Collins: Photo by Viola Rusche New York born and raised, Nicolas Collins studied composition with Alvin Lucier at Wesleyan University, worked for many years with David Tudor, and has collaborated with numerous soloists and ensembles around the world. He lived most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music Journal, and since 1999 a Professor in the Department of Sound at the School of the Art Institute of Chicago. His book, Handmade Electronic Music – The Art of Hardware Hacking (Routledge), has influenced emerging electronic music worldwide. Collins has the dubious distinction of having played at both CBGB and the Concertgebouw. Visit Nic at: www.nicolascollins.com ***** Five Questions with... is a feature of Sound American where I bother a very busy person until they answer a handful of queries around the issue's topic. This issue features composer, educator, and writer Nicolas Collins. Collins is best known for his ability to find music in the inner workings of everyday electronic objects. CD players become laser turntables, laptop motors create instant electronic music, and the laying of hands on circuits control unholy manipulations of children's toys. -
Arduino Project List Arduino Projects Huge List of Tutorials & Components Based Resources & Info Privacy Policy Arduino Board Selector 6HDUFKKHUH
Arduino Project List Arduino Projects Huge List of tutorials & Components based resources & info Privacy Policy Arduino Board Selector 6HDUFKKHUH HOME ARDUINO PROJECTS TOOLS E-BOOKS TUTORIALS BLOG NEWS & UPDATES SITEMAP CONTACT US How to use infra-red (IR) sensor with Arduino » Automated LED stairs using arduino You Are Here: Home » Arduino Project List Arduino Project List 1HZ)LOWHUDEOH3URMHFW 2OG6LPSOH3URMHFW ([FHO 3ULQW &69 3') &RS\ Search: Title URL Arduino ATmega328 – Hardcore using arduino http://duino4projects.com/?p=13923 Arduino weather station part 2 using arduino http://duino4projects.com/?p=13929 Artemis & Apollo: Dancing with Arduino and light detection http://arduino4projects.com/?p=6153 Breadboard Arduino http://duino4projects.com/?p=11428 How to Build an Arduino Circuit on a Breadboard http://duino4projects.com/?p=14400 MMAE Graduate Robotics http://duino4projects.com/?p=12015 $1.50 Arduino TV Annoyer http://arduino4projects.com/?p=2814 *duino Keg Temp Monitor, or the Quest for the Perfect Pint http://arduino4projects.com/?p=6904 0 to 99 Light display http://arduino4projects.com/?p=6805 1 LED Game with Arduino Uno and an RGB LED http://arduino4projects.com/?p=7002 123D Scanner – Home made 3D Scanner http://duino4projects.com/?p=12343 2 player Pong using Arduino http://arduino4projects.com/?p=2084 2 Ways to Papercraft Stopmotion http://duino4projects.com/?p=12148 2-Player Pong Game with Arduino Uno http://arduino4projects.com/?p=4424 3 LED Crossfade with PWM and Arduino http://duino4projects.com/?p=10605 3 wires interface -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy.