Sallis / Bertolani / Burle Live-Electronic Music

Composition, Performance, Study
Erscheinungsjahr 2017
ISBN: 978-1-317-69211-9
Verlag: CRC Press
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 358 Seiten

Reihe: Routledge Research in Music

During the twentieth century, electronic technology enabled the explosive development of new tools for the production, performance, dissemination and conservation of music. The era of the mechanical reproduction of music has, rather ironically, opened up new perspectives, which have contributed to the revitalisation of the performer’s role and the concept of music as performance. This book examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format. Thus, at the core of this project is an absence. The objects of study lack a reliably precise graphical representation of the work as the composer or the composer/performer conceived or imagined it. How do we compose, perform and study music that cannot be set in conventional notation? The authors of this book examine this problem from the complementary perspectives of the composer, the performer, the musical assistant, the audio engineer, the computer scientist and the musicologist.

Autoren/Hrsg.

Sallis, Friedemann

Bertolani, Valentina

Burle, Jan

Zattra, Laura

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein

Inhaltsverzeichnis

1. Introduction

Friedemann Sallis, Laura Zattra and Ian Burleigh

Part I: Composition

2. The audible traces of man-machine-environment interactions: Sketches for an experimental epistemology of sound

Agostino Di Scipio

3. Beyond Hybridity: evolving theory and practice in audiovisual art

Laurie Radford

4. Encounterpoint: The Diversity of Species in Algorithmic Musical Agents

John Grasnow and Chris Chafe

5. Composition vs. Instrument

Martin Supper

6. Collaborating on composition: The role of the musical assistant at IRCAM, CCRMA and CSC

Laura Zattra

Part II: Performance

7. The interaction between performers and composers

Alvise Vidolin (interviewed by Laura Zattra)

8. The apperception of electronics by performers: The case of solo works with real-time electronics

François-Xavier Féron and Guillaume Boutard

9. Approaches to notation in music for piano and live electronics: the performer's perspective

Xenia Pestova

10. Robotic musicianship in live improvisation involving humans and machines

George Tzanetakis

11. New organology and the dematerialisation of musical instruments

Milan Guštar

12. Expressing the Inexpressible: An investigation into Stockhausen’s works for instruments and electronics

John Dack

Part III: Theory and Analysis

13. Textualising musical performances through technology: authorship in art music and traditional music practices

Angela Ide Di Benedictis and Nicola Scaldaferri

14. Examining the learning processes embedded in the production of live-electronic music

Vincent Tiffon

15. Fixing the fugitive: Case study in mixed music transcription

Ian Burleigh

16. An analysis and interpretion of Luigi Nono’s A Pierre. Dell’azzurro silenzio, inquietum. À più cori (1985)

Friedemann Sallis

17. Computer-supported analysis of religious chant

George Tzanetakis and Dániel Biró

Über Autor(innen)

Friedemann Sallis is Professor and Director of Graduate Studies in the Music Department at the University of Calgary, Canada.

Valentina Bertolani is currently pursuing a PhD in musicology at the University of Calgary, Canada.

Jan Burle is a scientist at Jülich Centre for Neutron Science, Forschungszentrum Jülich GmbH, Outstation at MLZ in Garching, Germany.

Laura Zattra is a research fellow at Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, France.