Campionamento

Musicology of Electroacoustic Music [MEM]  > 

Discorso sulla Musica Elettroacustica

 ]

Molta musica elettroacustica ha privilegiato la creazione dei nuovi suoni a partire dalla sintesi o l’utilizzo di registrazioni ‘autentiche’ (per esempio la registrazione degli oggetti sonori o dei paesaggi sonori). Evoluzioni estetiche più recenti hanno favorito l’utilizzo di suoni e musiche preesistenti sottintendendo le nozioni di ‘prestito’, di ‘furto, di ‘riciclaggio, di ‘ricontestualizzazione’. Questo utilizzo estetico del termine è connesso profondamente con lo sviluppo della ricerca nell’ambito dell’Estetica Digitale.

Il numero di campioni che vengono usati in un secondo per definire un segnale. Per rappresentare accuratamente un segnale, la frequenza di campionamento deve superare il doppio della frequenza relativa alla componente più alta del segnale campionato. Lo standard più diffuso è di 44.100 campioni al secondo.
http://www.cematitalia.it/servizi/glossario/index.htm

 

See also

Suono astratto

,

Acusmatico, ca

,

Discorso uditivo mimetico (Aural Mimetic Discourse)

,

Interferenza Culturale (Culture-jamming)

,

Estetica digitale

,

Free Music (Musica Libera)

,

Pensiero Ibrido (Hybrid Thinking)

,

Plunderphonics

,

Ascolto ridotto

,

Suono referenziale

,

Oggetto sonoro

,

Soundscape Composition (Composizione di paesaggio sonoro)

,

Transcontestualità

 

Links

UNESCO DigiArts

- Digital Creation with Sounds and Music: Collect ( English , French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Battier, Marc (2003b). Notes sur l’électronique dans un opéra récent : {K...} de Philippe Manoury
Battier, Marc (2003e). Digital Creation with Sounds and Music - an online introduction
Borin, Gianpaolo, Poli, Giovanni De, Sarti, Augusto (1997). Musical Signal Synthesis
Bossis, Bruno, Couprie, Pierre (2003). Tutorials : sound and music applications
Cutler, Chris (2000). Plunderphonics
D’Arcangelo, Gideon (2004). Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music
Davies, Hugh (1996a). A History of Sampling
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
Fikentscher, Kai (2003). “There’s not a problem I can’t fix, ‘cause I can do it in the mix”: On the Performative Technology of 12-inch Vinyl
Gallet, Bastien (2002). Le boucher du prince Wen-houei
Hesmondhalgh, David (2000). International Times: Fusions, Exoticism, and Antiracism in Electronic Dance Music
Holm-Hudson, Kevin (1996). John Oswald’s {Rubaiyat (Elektrax)} and the Politics of Recombinant Do-Re-Mi
Holm-Hudson, Kevin (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Jordà, Sergi (1999). Faust Music On Line: (FMOL) An Approach to Real-Time Collective Composition on the Internet
Lalitte, Philippe (1998). {City Life}
Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa
Lysloff, René T. A. (2003a). Musical Life in Softcity: An Internet Ethnography
Miller, Paul D. (aka. Dj Spooky that Subliminal Kid) (2004). Rhythm Science
NUÑEZ, Adolfo (1993). Informática y Electrónica Musical - 2da. edición, revisada (Musical Electronics and Informatics - 2nd edition, revised)
Polansky, Larry (1998). Signing Together, Hacking Together, Plundering Together: Sonic Intellectual Property in Cybertimes
Reich, Steve, Vérin, Nicolas (1998). Interview de Steve Reich
Rimbaud, Robin (a.k.a. Scanner) (2001). Remembering How to Forget: An Artist’s Exploration of Sound
Rodgers, Tara (2003). On the Process and Aesthetics of Sampling in Electronic Music Production
Sanjek, David (2003). Fairly Used: Negativeland’s {U2} and the Precarious Practice of Acoustic Appropriation
Schaefer, Janek (2001). {AudiOh!}: Appropriation, Accident and Alteration
Théberge, Paul (2003). “Ethnic Sounds”: The Economy and Discourse of World Music Sampling
Tiffon, Vincent (2003). La partition, le phonographe et l’échantillonneur : usages de la copie en musique

 

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