DI SCIPIO, Agostino

1995d

Riflessioni sull'analisi della musica elettroacustica e informatica

Atti del XI Colloquio di Informatica Musicale, AIMI/DAMS-Bologna.

Language(s): Italian

Keyword(s):

Formalism Synthesis and Resynthesis Techniques Technological Listening Socio-Cultural Aspects of Electroacoustic Music

Abstract:

The author argues that electroacoustic music analysis should consider the importance of téchne as a generic analytical domain, and timbre as an important formal parameter. Téchne is relevant for composers such as Xenakis, Risset, Pousseur (Scambi), Koenig (Terminus). The analysis of timbre, in respect to how sound is composed and evolves, is important for musicological analysis. In opposition to the traditional evolutionary concept, the author stresses that computer music does not rely on pre-existing sound material (that which exists prior to the intentional act of creation). This becomes an aesthetic category when joining téchne to timbre creation. The authors emphasises a rupture in the dualism - “composing sound” and “composing with sound”.

Abstract translation(s):

(italiano)

DI SCIPIO, Agostino (1995d). Riflessioni sull'analisi della musica elettroacustica e informatica

All references of the same author:

(English)

DI SCIPIO, Agostino (1991). Caos deterministico, composizione e sintesi del suono (Deterministic chaos, composition and souns synthesis)
Di Scipio, Agostino (1994a). Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music: A Study in Composition Theory (II)
Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation
Di Scipio, Agostino (1995a). Inseparable Models of Materials and of Musical Design in Electroacoustic Music
Di Scipio, Agostino (1995b). Centrality of Techné for an Aesthetic Approach on Electroacoustic Music
Di Scipio, Agostino (1995c). On Different Approaches to Computer Music as Different Models of Compositional Design
Di Scipio, Agostino (1996). Interactive Composing with Granular Time-shifting of Sound
Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis' Electroacoustic Music
Di Scipio, Agostino (1998). Compositional Models in Xenakis's Electroacoustic Music
Di Scipio, Agostino (2000). An Analysis of Jean-Claude Risset's Contours
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
DI SCIPIO, Agostino (2001b). Uno scenario post-digitale? Riflessioni ambivalenti sul suono in Internet (A post-digital scenario? Ambivalent thought on Internet sound)
DI SCIPIO, Agostino (2002). Tecnologia dell'esperienza musicale nel Novecento (The technology of musical experience in the 20th century)
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset's Contours
Di Scipio, Agostino (2002b). Systems of Embers, Dust, and Clouds: Observations after Xenakis and Brün
Di Scipio, Agostino (2003). ‘Sound is the Interface': From interactive to ecosystemic signal processing
Di Scipio, Agostino (2004). The Orchestra as a Resource for Electroacoustic Music: On some works by Iannis Xenakis and Paul Dolden

(Italiano)

DI SCIPIO, Agostino (1991). Caos deterministico, composizione e sintesi del suono
DI SCIPIO, Agostino (2001b). Uno scenario post-digitale? Riflessioni ambivalenti sul suono in Internet
DI SCIPIO, Agostino (2002). Tecnologia dell'esperienza musicale nel Novecento