During the 20th 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 opened up new perspectives, which have contributed to the revitalisation of the performerà â â s role and the concept of music as pe
During the 20th 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 opened up new perspectives, which have contributed to the revitalisation of the performerà â â s role and the concept of music as peHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
Inhaltsangabe
Introduction Friedemann Sallis, Valentina Bertolani, Jan Burle and Laura Zattra Part I: Composition 1. Dwelling in a field of sonic relationships: 'instrument' and 'listening' in an ecosystemic view of live electronics performance Agostino Di Scipio 2. (The) speaking of characters, musically speaking Chris Chafe 3. Collaborating on composition: the role of the musical assistant at IRCAM, CCRMA and CSC Laura Zattra Part II: Performance 4. Alvise Vidolin interviewed by Laura Zattra: the role of the computer music designers in composition and performance Laura Zattra 5. Instrumentalists on solo works with live electronics: towards a contemporary form of chamber music? François-Xavier Féron and Guillaume Boutard 6. Approaches to notation in music for piano and live electronics: the performer's perspective Xenia Pestova 7. Encounterpoint: the ungainly instrument as co-performer John Granzow 8. Robotic musicianship in live improvisation involving humans and machines George Tzanetakis Part III: Study 9. Authorship and performance tradition in the age of technology: (with examples from the performance history of works by Luigi Nono, Luciano Berio and Karlheinz Stockhausen) Angela Ida De Benedictis 10. (Absent) authors, texts and technologies: ethnographic pathways and compositional practices Nicola Scaldaferri 11. Computer-supported analysis of religious chant Dániel Péter Biró and George Tzanetakis 12. Fixing the fu
Introduction Friedemann Sallis, Valentina Bertolani, Jan Burle and Laura Zattra Part I: Composition 1. Dwelling in a field of sonic relationships: 'instrument' and 'listening' in an ecosystemic view of live electronics performance Agostino Di Scipio 2. (The) speaking of characters, musically speaking Chris Chafe 3. Collaborating on composition: the role of the musical assistant at IRCAM, CCRMA and CSC Laura Zattra Part II: Performance 4. Alvise Vidolin interviewed by Laura Zattra: the role of the computer music designers in composition and performance Laura Zattra 5. Instrumentalists on solo works with live electronics: towards a contemporary form of chamber music? François-Xavier Féron and Guillaume Boutard 6. Approaches to notation in music for piano and live electronics: the performer's perspective Xenia Pestova 7. Encounterpoint: the ungainly instrument as co-performer John Granzow 8. Robotic musicianship in live improvisation involving humans and machines George Tzanetakis Part III: Study 9. Authorship and performance tradition in the age of technology: (with examples from the performance history of works by Luigi Nono, Luciano Berio and Karlheinz Stockhausen) Angela Ida De Benedictis 10. (Absent) authors, texts and technologies: ethnographic pathways and compositional practices Nicola Scaldaferri 11. Computer-supported analysis of religious chant Dániel Péter Biró and George Tzanetakis 12. Fixing the fu
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