scholarly journals La Sinfonía de Babel [Babel’s Symphony]

Intonations ◽  
2018 ◽  
pp. 16-30
Author(s):  
Nicolás Arnáez
Keyword(s):  
Creative Process ◽  
Jorge Luis Borges ◽  
Sonic Art ◽  
Musical Works ◽  
Time Periods

At its core, the practice of creating sound installations as sonic art involves presenting and manipulating audio in a gallery-like setting. In the case of "La Sinfonía de Babel" the usage of pre-existing musical and literary phrases, or "quoting," formulates the substantive basis for a non-interactive quadraphonic piece that challenges preconceptions of appropriation, citation, and plagiarism where it concerns composition. Inspired by the works “Sinfonia” by Italian composer Luiciano Berio, and “La Biblioteca de Babel” by Argentinian writer Jorge Luis Borges, "La Sinfonía de Babel" recontextualizes conventional ideas of musical narratives by combining and indeterminately presenting excerpts of six hundred and forty looped musical works from different time periods, thus generating a thick and immersive cluster of audio. Within this milieu, auditors are invited to sit and read Borges’ text whilst simulataneously identifying musical familiarities within the cluster, hence experiencing quoting on a multi-dimensional level. This paper offers a methodological and aesthetic overview of Berio and Borges' works, focusing specifically on how citation is approached from musical and literary perspectives. Furthermore, structural and technical methodologies are analyzed as a means of better understanding the overarching creative process.

scholarly journals Creativity and ownership: Protection of rights in musical works in the European Union from digitisation to artificial intelligence

Muzikologija ◽  
2020 ◽  
pp. 149-162
Author(s):  
Uros Cemalovic
Keyword(s):  
Artificial Intelligence ◽  
Creative Process ◽  
Service Providers ◽  
Technological Development ◽  
The European Union ◽  
Artistic Creation ◽  
Content Sharing ◽  
Eu Directive ◽  
Musical Works ◽  
Ownership Protection

Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main challenges the development of artificial intelligence imposes to the protection of rights in musical works.

Following Gesture Following: Grounding the Documentation of a Multi-Agent Music Creation Process

2012 ◽  
Vol 36 (4) ◽  
pp. 59-80 ◽  
Author(s):  
Guillaume Boutard ◽  
Catherine Guastavino
Keyword(s):  
Conceptual Framework ◽  
Creative Process ◽  
Relevant Information ◽  
Musical Work ◽  
Levels Of Abstraction ◽  
Musical Works ◽  
Multi Agent ◽  
Ethnographic Data ◽  
Different Levels ◽  
Do So

The documentation of electroacoustic and mixed musical works typically relies on a posteriori data collection. In this article, we argue that the preservation of musical works having technological components should be grounded in a thorough documentation of the creative process that accounts for both human and nonhuman agents of creation. The present research aims at providing a ground for documentation policies that account for the creative process and provide relevant information for performance, migration, and analysis. To do so, we analyzed secondary ethnographic data from a two-year creation and production process of a musical work having a focus on gesture following. Using grounded theory, we developed a conceptual framework with different levels of abstraction and consequent levels of transferability to other creative contexts. Finally, we propose several paths for grounding a subsequent documentation framework in this conceptual framework.

scholarly journals THE ENDERBY NOVELS BY ANTHONY BURGESS: THE ARTIST’S CONCEPT

2019 ◽  
Vol 7 (6) ◽  
pp. 81-84
Author(s):  
Ekaterina Vladimirovna Smyslova ◽  
Liliya Fuatovna Khabibullina
Keyword(s):  
Creative Process ◽  
Sexual Attraction ◽  
Fictional World ◽  
Main Condition ◽  
Artistic Creativity ◽  
Creative Processes ◽  
Anthony Burgess ◽  
Artistic Activity ◽  
Musical Works ◽  
Teachers And Students

Purpose of the study: Anthony Burgess (1917 – 1993) is an English writer, author of the intellectual novels and serious musical works. Being a talented and inventive person, he was very interested in art and its creative processes. Anthony Burgess’s artistic creativity concept can be traced in many of his works about fictional and non-fictional writers Methodology: The article uses the analysis of the fictional world created in the novels as a means of its consideration. The image of the artist is considered from the perspective of the writer's worldview reflected in the composition and the message of his works. Results: The conducted analysis shows that in Anthony Burgess’s opinion the artist is a craftsman whose artistic activity is closely connected with his sexual attraction. In addition, the writer is characterized by isolation as the main condition of the creative process and the total devotion to Art. Applications of this study: This research can be used for the universities, teachers, and students. Novelty/Originality of this study: Thus, the novelty of the paper consists in its first trial to present the artist’s image thoroughly studied in the mentioned above novels. It is worthwhile mentioning that the research is conducted according to Anthony Burgess’s creative concept.

scholarly journals Musical Composition of Introverts dan Ekstroverts’ Extramusical Idea

2020 ◽  
Vol 3 (2) ◽  
pp. 125-133
Author(s):  
Mohamad Rohmatullah
Keyword(s):  
Creative Process ◽  
Research Method ◽  
Musical Composition ◽  
Compositional Techniques ◽  
Program Music ◽  
Literature Study ◽  
Piano Works ◽  
Study Approach ◽  
Scientific Disciplines ◽  
Musical Works

Purpose: Humans have different personalities, namely introverts and extroverts. Program music is one of the compositional techniques whose purpose is to describe something in the creation of music through the analogy of meaning. Research methods: This creation research uses the Practice-Led Research method. Data obtained through a literature study approach, then the data is associated with music through an analogy process. Results and discussion: The creative process in creating music is very diverse, one of which is through extra-musical ideas. In the realm of music creation other disciplines can be used as music creation ideas. Psychology and music can be related through listening and feeling. The musical works created are vocal and piano works about introverts and extroverts. Implication: The implications of this research creation are expected to trigger the idea of creating music more broadly, especially across scientific disciplines.

scholarly journals Re-imagining Operatic "Objects": Commentary on Neumann's Phenomena, Poiesis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera

2018 ◽  
Vol 12 (3-4) ◽  
pp. 272
Author(s):  
Georgia Volioti
Keyword(s):  
Creative Process ◽  
Process Analysis ◽  
Cultural Practice ◽  
Valuable Contribution ◽  
Performance Profiling ◽  
The Past ◽  
Metropolitan Opera ◽  
Musical Object ◽  
Musical Works ◽  
And Performance

Objects come in all sorts of shapes, sizes and forms. The notion of musical works as objects, represented by their written scores, has proved to be effete and limiting to the study of music as diverse social-cultural practice and performed craft. The past two decades have witnessed considerable efforts to renew conceptual and methodological tools, and Neumann's study makes a valuable contribution to this effect. This commentary responds to some issues raised by Neumann's article in relation to the notion of musical "object". Specifically, I retrace the shift from a score-based to a process-oriented musicology geared towards performances, placing the concerns of contemporary opera studies within this broader disciplinary change. I consider some implications of technology in mediating new operatic objects for discourse. Finally, I reflect on some of the inherent dangers of objectifying performance in empirical analyses.

The Study of Professional Writing

2010 ◽  
Vol 15 (1) ◽  
pp. 12-22 ◽  
Author(s):  
Denis Alamargot ◽  
Jean-Louis Lebrave
Keyword(s):  
Creative Process ◽  
Empirical Studies ◽  
Writing Skills ◽  
Professional Writing ◽  
Genetic Criticism ◽  
Writing Processes ◽  
Advanced Students ◽  
Technical Writers ◽  
Time Periods

In this article, we argue that examining the writing processes of literary authors would enrich and extend empirical research on writing, which is currently grounded in cognitive psychology. In most empirical studies of writing skills, experts are defined as either advanced students or technical writers, neither of whom work within the same constraints or timeframes as literary authors. Including literary authors in psychological accounts of writing, by drawing on the observations of genetic criticism (a linguistic-literary discipline that reconstructs the genesis of an author’s manuscript by collecting and interpreting the notes, drafts, revisions, successive versions, etc.), would add to our knowledge of professional writing. Two issues could then be considered: (a) the way the creative process takes place during writing and (b) the role of memory in the management of writing processes over extended time periods.

Freedom and Spontaneity in the Creative Process: Lessons from Experimental Music

2021 ◽  
Author(s):  
David W. Bernstein
Keyword(s):  
Creative Process ◽  
Political Ideology ◽  
Electronic Music ◽  
Experimental Music ◽  
John Cage ◽  
Social Conventions ◽  
Literal Sense ◽  
Live Electronic Music ◽  
Musical Works ◽  
Aesthetic Values

This chapter focuses on composers who explored freedom and spontaneity in the creative process as alternatives to compositional systems with various formal rules and constraints. John Cage used chance operations and indeterminacy to compose music that allowed listeners unlimited interpretative freedom. Pauline Oliveros designed human/machine interfaces that created feedback resembling human intuitive and spontaneous interactivity. David Tudor created “live” electronic music in its most literal sense with idiosyncratic sound systems that produced sounds that took on a “life of their own.” Frederic Rzewski viewed spontaneous music as a transcendent and transformative creative process available to both musicians and non-musicians. Roscoe Mitchell developed composition/improvisation hybrids that challenge traditionally held assumptions about musical works in the Western canon. Embracing freedom and spontaneity as aesthetic values made it possible for these composers to challenge the dominant political ideology and its social conventions.

Sonic Art as Critique of the Listening Act

2016 ◽  
Vol 26 ◽  
pp. 39-43
Author(s):  
Camille Robinson
Keyword(s):  
Research Methods ◽  
Creative Process ◽  
Critical Reflection ◽  
Schema Theory ◽  
Art Making ◽  
Heuristic Research ◽  
Sonic Art ◽  
Immanent Critique

In this article, the author describes an approach to structuring sonic art as a critique of listening and as stimulus for critical reflection on listening, which was devised for the project Listening Art: Making Sonic Artworks that Critique Listening. Presented are an overview of the project’s methodology—integrating schema theory, immanent critique and heuristic research methods into the creative process—and discussion of two artworks and findings.

scholarly journals A Digital Archives Framework for the Preservation of Cultural Artifacts with Technological Components

2013 ◽  
Vol 8 (1) ◽  
pp. 42-65 ◽  
Author(s):  
Guillaume Boutard ◽  
Catherine Guastavino ◽  
James Turner
Keyword(s):  
Conceptual Framework ◽  
Creative Process ◽  
Digital Information ◽  
Digital Archives ◽  
Human Computer Interactions ◽  
Cultural Artifacts ◽  
Creative Processes ◽  
Musical Works ◽  
The Status ◽  
The Impact

The preservation of artistic works with technological components, such as musical works, is recognised as an issue by both the artistic community and the archival community. Preserving such works involves tackling the difficulties associated with digital information in general, but also raises its own specific problems, such as constantly evolving digital instruments embodied within software and idiosyncratic human-computer interactions. Because of these issues, standards in place for archiving digital information are not always suitable for the preservation of these works. The impact on the organisation and the descriptions of such archives need to be conceptualised in order to provide these technological components with readability, authenticity and intelligibility. While previous projects emphasized readability and authenticity, less effort has been dedicated to addressing intelligibility issues.The research into the specification of significant properties and its extension, namely significant knowledge, offers some grounds for reflecting on this question. Furthermore, the relevance of taking into account the creative process involved in the production of technological components offers an opportunity to redefine the status of technological agents in the performative aspect of digital records. Altogether, the research on significant knowledge and creative processes provide us with a conceptual framework that we propose to bring together with digital archives models to form a coherent framework.

scholarly journals Prospective, rétrospective et perspective

2009 ◽  
Vol 51 (2) ◽  
pp. 209-228 ◽  
Author(s):  
Kimon Valaskakis
Keyword(s):  
Creative Process ◽  
Model Building ◽  
Future Studies ◽  
The Past ◽  
Long Run ◽  
The Future ◽  
Short Run ◽  
History Of ◽  
Time Periods ◽  
Scenario Technique

The purpose of this paper is to show that an essential symmetry exists between the "history of the future" (prospective) and the history of the past (retrospective) and that only by reference to both can we fully understand the present. The exploratory look into both the future and the past implies a model of time. This model is presented in a diagram entitled the "chronosphere" and involves a vision of time punctuated by the freedom to make decisions. In the very-short-run all factors are fixed. In the very long-run all factors are variable. In between there are five discernible time periods. The study of time itself implies model-building and scenario-writing. Both are analysed and elements of a methodology for future studies are put in place. The article ends with an exhortation to further "marry" the scenario-technique (essentially a creative process) with the modelling-technique (which is primarily a scientific procedure).

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