Digital Interactivity: A New Impetus for Musical Composition?

10.34690/155 ◽  
2021 ◽  
pp. 154-167
Author(s):  
Вера Жеслин
Keyword(s):  
Musical Composition ◽  
The Common ◽  
Music Informatics ◽  
Composition Process

Цель данной статьи - рассмотреть, как особенности нарастающей технической среды могут спровоцировать сдвиг ориентиров в современном композиторском мышлении. Автор соотносит традиционное музыковедение с другими научными сферами, делая акцент на некоторых философско-антропологических тезисах о «диалоге» человека с собственными изобретениями. Объектом исследования послужила совместная работа специалиста в сфере музыкальной информатики Кристофа Лебретона и исполнителя на ударных инструментах Жана Жоффруа над проектами двух авторов: Тьерри Де Мея и Винсента Рафаэля Каринолы. Таким образом, две последние части статьи посвящены ключевым феноменам, относящимся к сочинительскому процессу анализируемых произведений: интерактивность и работа с жестом с помощью цифровых инструментов. The purpose of this article is to consider how the peculiarities of the growing technical environment can provoke any movement in modern composer thinking. The author correlates traditional musicology with other scientific spheres, focusing on some philosophical and anthropological theses about a human's “dialogue” with his own inventions. The object of the research became the common work of a specialist in the field of music informatics Christophe Lebreton and a percussionist Jean Geoffroy on projects by two authors: Thierry De Mey and Vincent-Rapha4l Carinola. Thus, the last two parts of the paper are devoted to the key phenomena in their composition process: interactivity and work with gesture while using digital instruments.

scholarly journals Trautonium: peculiarities of compositions for the electronic musical instrument

2020 ◽  
pp. 141-148
Author(s):  
Elena Nikolaevna Piryazeva
Keyword(s):  
Electronic Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Audio Recordings ◽  
The Subject ◽  
The Common ◽  
Video And Audio ◽  
Characteristic Features ◽  
New Generation

The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.

scholarly journals Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku

Sympozjum ◽  
2021 ◽  
Vol 25 (1 (40)) ◽  
pp. 83-102
Author(s):  
Renata Borowiecka
Keyword(s):  
18Th Century ◽  
Virgin Mary ◽  
Musical Composition ◽  
Harmonic Structure ◽  
Stabat Mater ◽  
Rhetorical Figures ◽  
Blessed Virgin Mary ◽  
Nodal Points ◽  
Musical Rhetoric ◽  
The Common

The Stabat Mater sequence in Italian musical interpretations of the 18th-century The Stabat Mater poem, which describes the suffering of Blessed Virgin Mary under the cross on which Jesus – her Son – is dying, has become a universal theme which inspired composers of various ages and origins and found its expression in numerous musical interpretations. From among over 400 compositions which set the text of the sequence to music, a large proportion are 18th-century works (mostly – late baroque) of Italian provenience. Attempting to interpret a musical composition with text of the 18th century, one has to take into account the theory of affects and musical rhetoric, which make the text dependent on music both on the emotive and symbolic level. The paper will examine the Stabat Mater compositions in the rhetoric context, referring to three main levels: inventio, dispositio and decoratio. The common and individual tendencies will be articulated, evident by the appropriate choice of the key, tempo and rhetorical figures, as well as by some melodic and rhythmic motives or harmonic structure having function of the special illustrative-symbolic signs. The nodal points of the work will be presented as well as the requests of man directed at the Mother (the second part of the sequence) assuming varying intonations of supplication. The function and the message of the compositions are advisable. In contemporary times Stabat Mater of the great composers resound mainly as concert masterpieces in church and secular interiors. The vitality of these interpretations after three hundred years from their creation most certainly bears witness to the composers’ artistry in their works and proves their significance not only for the music of the 18th century but also for the culture and faith of today. Abstrakt Treść poematu Stabat Mater, opisującego postać Matki Bożej cierpiącej pod krzyżem, na którym umiera Jezus – Jej Syn, stała się jednym z uniwersalnych tematów sztuki, zainspirowała kompozytorów różnych wieków i ośrodków, co znalazło swój wyraz w bardzo licznych interpretacjach muzycznych. Spośród ponad 4000 kompozycji do tekstu sekwencji znaczna część to dzieła XVIII-wieczne (najczęściej późnobarokowe), pochodzące z kręgu włoskiego. Chcąc zinterpretować utwór słowno-muzyczny XVIII wieku, nie sposób czynić tego w oderwaniu od teorii afektów i retoryki muzycznej, które uzależniają tekst od muzyki zarówno na poziomie emotywnym, jak i symbolicznym. Referat stanowi próbę oglądu kompozycji Stabat Mater w kontekście retoryki na trzech odpowiadających jej poziomach: inventio, dispositio i decoratio. Wyartykułowane są tendencje wspólne oraz indywidualne, przejawiające się w odpowiednim doborze tonacji, tempa i figur retorycznych, a także pewnych motywów melodycznych, rytmicznych lub struktur harmonicznych funkcjonujących w roli znaku ilustracyjno-symbolicznego. Zaprezentowane zostają punkty węzłowe dzieł oraz prośby człowieka skierowane do Matki (druga część sekwencji) o różnorakiej intonacji błagalnej. Wskazana jest funkcja i przesłanie kompozycji. W czasach współczesnych Stabat Mater wielkich twórców rozbrzmiewają głównie jako dzieła koncertowe we wnętrzach kościelnych lub świeckich. Żywotność tych interpretacji 300 lat od ich powstania świadczy niewątpliwie o kompozytorskim kunszcie utworów oraz o ich znaczeniu nie tylko dla muzyki XVIII wieku, ale i dla dzisiejszej kultury i wiary.

Theodor Billroth: Surgeon, Musician, and Composer

2020 ◽  
pp. 000313482094952
Author(s):  
Tami Yu-Yu Lin ◽  
Andrew Seal
Keyword(s):  
Music Theory ◽  
Personal Life ◽  
Musical Composition ◽  
Science And Art ◽  
Shared History ◽  
Composition Process ◽  
Insight Into

Music and surgery have a long and shared history, and the existence of musician-surgeons has been well documented. Best known for his 2 gastric reconstruction operations, Theodor Billroth was also a skilled musician and made valuable contributions to the field of music theory and composition. While he was a prolific composer during his lifetime, most of his works have unfortunately been lost. His 1 surviving composition Todessehnsucht offers insight into his composition process and serves as a testament to the amalgamation of his personal life, his career as a surgeon, and his lifelong love of music. This article seeks to analyze Billroth’s only musical composition from a historical, musical, and sociopolitical perspective and to illustrate the close interplay between science and art in one of the most quintessential musician-surgeons in history.

scholarly journals Assembling Music

2020 ◽  
pp. 89-94
Author(s):  
Yoichi Nagashima
Keyword(s):  
Human Body ◽  
Interaction Design ◽  
Computer Music ◽  
Music Performance ◽  
Musical Instruments ◽  
Musical Performance ◽  
Musical Composition ◽  
Sound Installation ◽  
Body Activity ◽  
The Common

In this paper, I report on my three projects - sound installation, new musical instruments and new platform of computer music - the common key concept is "assembling music". Musical performance is a kind of expansion of human-body activity. I have been developing many kinds of musical instruments as a part of my composition, and I focused essentially on human "assembling" action in music performance in these projects. Of course, musical composition is an assembling process of musical parts. However, I want to expand the concept of "assembly" - not only for composition but also for performance. I hope this report expands the possibilities in interaction design for media art, and hope to discuss the technological detail and artistic approach.

Conflict in collaborative musical composition: A case study

2017 ◽  
Vol 46 (2) ◽  
pp. 192-207 ◽  
Author(s):  
Matthew Hill ◽  
Barry Hill ◽  
Robert Walsh
Keyword(s):  
Group Dynamics ◽  
Musical Composition ◽  
Theoretical Perspectives ◽  
The Creation ◽  
Video And Audio ◽  
Communication Conflict ◽  
Personal Reflections ◽  
Composition Process ◽  
The Impact

In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.

Catalogue reduction techniques

1978 ◽  
Vol 48 ◽  
pp. 389-390 ◽  
Author(s):  
Chr. de Vegt
Keyword(s):  
Adjustment Process ◽  
Proper Motions ◽  
Measuring Process ◽  
Aerial Photogrammetry ◽  
Reduction Techniques ◽  
Observational Technique ◽  
The Common ◽  
Astrometric Data

AbstractReduction techniques as applied to astrometric data material tend to split up traditionally into at least two different classes according to the observational technique used, namely transit circle observations and photographic observations. Although it is not realized fully in practice at present, the application of a blockadjustment technique for all kind of catalogue reductions is suggested. The term blockadjustment shall denote in this context the common adjustment of the principal unknowns which are the positions, proper motions and certain reduction parameters modelling the systematic properties of the observational process. Especially for old epoch catalogue data we frequently meet the situation that no independent detailed information on the telescope properties and other instrumental parameters, describing for example the measuring process, is available from special calibration observations or measurements; therefore the adjustment process should be highly self-calibrating, that means: all necessary information has to be extracted from the catalogue data themselves. Successful applications of this concept have been made already in the field of aerial photogrammetry.

Renilla Bioluminescence: A Morphologic Approach to the Location of Photocytes

1974 ◽  
Vol 32 ◽  
pp. 208-209
Author(s):  
Ben O. Spurlock ◽  
Milton J. Cormier
Keyword(s):  
Excited State ◽  
Ground State ◽  
Molecular Basis ◽  
Light Emission ◽  
Chemical Basis ◽  
Electronic Excited State ◽  
Colonial Form ◽  
The Common ◽  
Eighteenth And Nineteenth Centuries ◽  
Catalyzed Oxidation

The phenomenon of bioluminescence has fascinated layman and scientist alike for many centuries. During the eighteenth and nineteenth centuries a number of observations were reported on the physiology of bioluminescence in Renilla, the common sea pansy. More recently biochemists have directed their attention to the molecular basis of luminosity in this colonial form. These studies have centered primarily on defining the chemical basis for bioluminescence and its control. It is now established that bioluminescence in Renilla arises due to the luciferase-catalyzed oxidation of luciferin. This results in the creation of a product (oxyluciferin) in an electronic excited state. The transition of oxyluciferin from its excited state to the ground state leads to light emission.

Mammalian Bone Marrow Acetylcholinesterase

1982 ◽  
Vol 40 ◽  
pp. 44-45
Author(s):  
Ezzatollah Keyhani
Keyword(s):  
Central Nervous System ◽  
Bone Marrow ◽  
Nervous System ◽  
Common Property ◽  
Extracellular Medium ◽  
The Central Nervous System ◽  
The Common ◽  
Mammalian Bone

Acetylcholinesterase (EC 3.1.1.7) (ACHE) has been localized at cholinergic junctions both in the central nervous system and at the periphery and it functions in neurotransmission. ACHE was also found in other tissues without involvement in neurotransmission, but exhibiting the common property of transporting water and ions. This communication describes intracellular ACHE in mammalian bone marrow and its secretion into the extracellular medium.

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