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Timbral Notation From Spectrograms: Notating The Un-Notatable?

Andrew Blackburn, Jean Penny
2015 Zenodo  
The understandings elicited to date are not only located in music practice, but are underpinned and supported by the theoretical works of a number of recent philosophers and theorists.  ...  The authors consider the nature of a music score, the explicit and implicit information it carries, and how this impacts on the models being developed.  ...  Professor Marc Battier -Université de Paris (Sorbonne) The Research Management and Innovation Centre at Universiti Pendidikan Sultan Idris, and its Director Associate Professor Dr Tajul Said.  ... 
doi:10.5281/zenodo.1289625 fatcat:lukadpnvvbdpvh6xyevef5zzgu

Adorno and Avant-Garde Music

Ricardo Mandolini, Dept.
2021 International journal of multidisciplinary research and analysis  
Adorno's work in relation to contemporary music in general and electroacoustic music in particular.  ...  One of the purposes of this paper is to demonstrate that under the definition of musique informelle, Adorno opens wide the door to all musics, even those that do not depend directly on musical writing.  ...  This is a question that was not formulated in his time, and which I think takes on new meaning as electroacoustic music matures.  ... 
doi:10.47191/ijmra/v4-i3-10 fatcat:aynx7b5qnrakva2rs6dcbderfy

Hearing the Music of Others: Pierre Schaeffer's Humanist Interdiscipline

Patrick Valiquet
2017 Music & Letters  
This interest in defending the human nature of musical meaning in the face of technological change, and by extension protecting of the essential diversity of human expression, forms an ethical thread which  ...  , through his practical work, a new ethics of listening itself, proper to electroacoustic media, in which the quantised matrices of melody, harmony, and rhythm fall away to allow the texturally and temporally  ...  , 'Spectromorphology and Structuring Processes', in The Language of Electroacoustic Music, ed.  ... 
doi:10.1093/ml/gcx052 fatcat:ww4supns5fhorg4cw5ia56jkwa

User Stories of Erkki Kurenniemi's Electronic Musical Instruments, 1961–1978

Mikko Ojanen, Kai Lassfolk, Alfonso Padilla
2020 Zenodo  
, and electroacoustic music (aesthetics and musical analysis).  ...  of electroacoustic music.  ...  On this issue in particular, I have great expectations of the digital tools and methods, such as linked and big data, that are rapidly emerging in hu-  ... 
doi:10.5281/zenodo.4306056 fatcat:itav2zpq5ze4pnapt2bmpgig4e

Mixed-music theory and the Philosophy of Language [article]

Luca Danieli
2019 Zenodo  
In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within  ...  Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with  ...  This is not the same for everyone: for example, Laura Zattra refers to concrete music, mixed-music, live electronic music and laptop music as independent sub-genres of electroacoustic music (Zattra, 2005  ... 
doi:10.5281/zenodo.2650326 fatcat:er2xfiaphfh5zcij4tvdgea2pi

Locating the performable musical work in practice [chapter]

David Davies
2018 Virtual Works - Actual Things  
David Davies first addressed "musical practice" and "metaphysical principles," focusing on what participants in artistic practice do rather than on what they say or think they are "Musica Practica" (L'Arc  ...  During the Academy, Lydia Goehr discussed the notion of "discomposition" as a philosophical and musical concept, reading Stanley Cavell's 1965 essay "Music Discomposed" through the lens of Adorno.  ...  In its second mode, the guidedness works in regard to what music means to us and our lives.  ... 
doi:10.11116/9789461662521.ch02 fatcat:kz2aunvesnduvnvwkbk3vkcwbi

Listening to Improvisation

Clément Canonne
2019 Empirical Musicology Review  
16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition).  ...  Listeners were encouraged both to reflect on their listening experience and to describe in their own words the music they heard.  ...  ACKNOWLEDGMENTS This article was copyedited by Scott Bannister and layout edited by Kelly Jakubowski.  ... 
doi:10.18061/emr.v13i1-2.6118 fatcat:ib4im4jkovdjhjdalcrbxq42ky

Making Time: Temporality, History, and the Cultural Object

Georgina Born
2015 New Literary History  
electroacoustic music.  ...  by musical objects, by events, and by genres, the fourth returns to the human via temporal ontologies: encultured ways of living and conceiving time. 54 Such ontologies may be discursively elaborated  ... 
doi:10.1353/nlh.2015.0025 fatcat:kswqtsyrevdhvcbmh2pweado6u

Morphology of the Amorphous: Spatial texture, motion and words

Erik Nyström
2017 Organised Sound  
On reflection upon my own experience as a composer in theory and practice, I find that terms not only define but also propose.  ...  In finding words for spatial texture, I have discovered that spatial texture itself is always proposing: motion of sound suggests texture of space.  ...  Spaces, substances and listener become nodes in an elastic topology of sound.  ... 
doi:10.1017/s1355771817000498 fatcat:hdgqt67xk5c7lffg6ojaitvp4m

Musical Organics: A Heterarchical Approach to Digital Organology

Thor Magnusson
2017 Journal of New Music Research  
The proposed musical organics is a multidimensional, heterarchical, and organic approach to the analysis and classification of both traditional and new musical instruments that suits the rhizomatic nature  ...  Gaining a comprehensive understanding and overview of new musical technologies is fraught with difficulties.  ...  Thanks also to Chris Kiefer, and the NIME community in general, for engaging with these ideas, as well as people at the DPASSH conference. The anonymous reviewers provided invaluable comments.  ... 
doi:10.1080/09298215.2017.1353636 fatcat:jtvapdydgbguhgajrdty3dvbhy

Contextualizing Musical Organics: An Ad-Hoc Organological Classification Approach

Thor Magnusson
2017 Zenodo  
This micro-analysis of innovation in the field of musical instruments can help forming a framework for the study of how instruments are adopted in musical culture.  ...  In order to show how such a system could incorporate third-party additions, the paper also presents an organological ontogenesis of three innovative musical instruments: the saxophone, the Minimoog, and  ...  Recent studies in organology tend to broaden the scope of the field, often emphasizing the cultural context of musical instruments [27] [6] , lived organology based on stories, historical meanings and  ... 
doi:10.5281/zenodo.1176319 fatcat:25ab2632szdzxppx6bd4rtgac4

Co-Sounding: Fostering intersubjectivity in electronic music improvisation

Otso Lähdeoja, Alejandro Montes De Oca
2021 Organised Sound  
The article builds on a practice-based enquiry in duo format, conducted in three successive technological settings, with a methodological entanglement of aesthetic and design aims.  ...  The discussion points to the diversity of social functions of music and their respective aesthetics.  ...  Acknowledgements The research presented in this article is part of the 'Intersubjectivity in Music: The Perspective of Technological Mediation' project, funded by the Academy of Finland (grant n. 316072  ... 
doi:10.1017/s1355771821000017 fatcat:gfrrqttgbjeyzd2lclpuoj7nla

From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre

Georgina Born, Christopher Haworth
2017 Music & Letters  
Lewis is affiliated with the Transforming Musicology, a major digital musicology research projected that is funded by the AHRC Digital Transformations in the Arts and Humanities scheme and led by Tim Crawford  ...  an overview of research in digital musicology.  ...  , 'Music: Ontology, Agency and Creativity', in Liana Chua and Mark Elliott (eds.), Distributed Objects: Meaning and Matter After Alfred Gell (Oxford, 2013), 130-54. 9See Georgina Born, 'Music and the Social  ... 
doi:10.1093/ml/gcx095 fatcat:a7e6m6nqjbcsvolxkhsubwn3ca

Doug Van Nort: Playing with Fire in the Gasholder

Doug Van Nort
2010 Leonardo Music Journal  
Originally from rural New England and now living in New Mexico, William Fowler Collins (b. 1974) is a musician whose work explores and synthesizes both musical and extra-musical elements.  ...  His work has been described as a cinematic blend of dark ambient, drone, electroacoustic, noise and ambient black metal musics.  ...  attempts to extract the substance from momentary decisions: the details to be revised later. They live in Montréal, Canada, where they generate sound and appreciate the local music scene.  ... 
doi:10.1162/lmj_a_00037 fatcat:3fglgklwvrh4lglpyhl4lxg3lu

"La Pista 4's Cadáveres: Radiophonics and the Argentinean Staging of Disappearance"

Jean Graham-Jones
2009 Latin American Theatre Review  
As Milutis states, "[T]he body is source, substance, and medium of radio. [...]  ...  The radio artist is both producer and consumer, audience and performer, of his own electroacoustical surroundings" (70).  ...  The series will consist of a) criticism, b) anthologies in Spanish and eventually c) anthologies in English translation.  ... 
doi:10.1353/ltr.2009.0035 fatcat:cc4vn2nhrfbyjkadhgyq3ek5lq
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