scholarly journals Um mapa da tendências de composição pós-1980 que utilizam recursos tecnológicos

2010 ◽  
Vol 2 (2) ◽  
Author(s):  
Leandro Pedrotti Coradini ◽  
Edson Zampronha
Keyword(s):  
Computer Music ◽  
Electroacoustic Music ◽  
New Music ◽  
Music Research

O presente trabalho apresenta um mapa das principais tendências de composição musical pós-1980 que utilizam meios tecnológicos, seja como recurso auxiliar à composição, seja para a criação do resultado final da obra, ou seja, como um suporte para diferentes formas de interação musical. Para a realização deste mapa foram analisados todos os artigos dedicados ao tema publicados entre 1980 e 2001 em sete periódicos dedicados à música comtenporanêa: Perspectives of New Music, Ars Sonora, Comtemporary Music Review, Computer Music Journal, Journal of New Music Research. Organised Sound, e Journal of Electroacoustic Music. Os artigos selecionados foram divididos em três tendências principais. Cada tendência é apresentada individualmente, indicando suas características mais destacadas. Uma característica comum a todas elas é uma reação a métodos de composição centrados em combinatórias de parâmetros ou de eventos sonoros presentes em certas propostas anteriores a 1980. O resultado desta reação, no entanto, não se limita a uma superação dos problemas que detectam. As respostas que oferecem terminam, efetivamente, por introduzir novas perspectivas e princípios composicionais.

The aesthetics of computer music: a questionable concept reconsidered

2000 ◽  
Vol 5 (3) ◽  
pp. 119-126 ◽  
Author(s):  
BARRY TRUAX
Keyword(s):  
Computer Music ◽  
Contemporary Music ◽  
Panel Discussion ◽  
Electroacoustic Music ◽  
Electronic Equipment ◽  
Music Production ◽  
European Philosophy ◽  
The Subject ◽  
Discussion Topic

In some informal remarks I made at a conference in 1979, I expressed a reluctance to deal with the subject of aesthetics, which historically is a product of European philosophy and which remains a troublesome concept for contemporary music where an aesthetic term such as ‘beauty’ seems to be studiously ignored (Truax 1980). In a recent, also informal article (Truax 1999) addressed as a ‘letter to a twenty-five-year old electroacoustic composer’, I predicted that the term ‘computer music’ would probably disappear since in an age where the computer is involved in nearly all electroacoustic music production, this term, which once distinguished a type of music from that made with analogue, electronic equipment, seemed today to be impossible to define rigorously. Therefore, the concept of the ‘aesthetics of computer music’, proposed as a panel discussion topic, initially seemed to me to be doubly suspect as to its meaning.

scholarly journals Genesis of the Cube: The Design and Deployment of an HDLA-Based Performance and Research Facility

2016 ◽  
Vol 40 (4) ◽  
pp. 62-78 ◽  
Author(s):  
Eric Lyon ◽  
Terence Caulkins ◽  
Denis Blount ◽  
Ivica Ico Bukvic ◽  
Charles Nichols ◽  
...  
Keyword(s):  
Design Process ◽  
Performance Art ◽  
Computer Music ◽  
Scientific Research ◽  
High Density ◽  
Research Facility ◽  
Immersive Environments ◽  
Process Implementation ◽  
Music Research ◽  
And Performance

The Cube is a recently built facility that features a high-density loudspeaker array. The Cube is designed to support spatial computer music research and performance, art installations, immersive environments, scientific research, and all manner of experimental formats and projects. We recount here the design process, implementation, and initial projects undertaken in the Cube during the years 2013–2015.

scholarly journals Interactive Composition: New Steps in Computer Music Research

2017 ◽  
Vol 46 (1) ◽  
pp. 1-2 ◽  
Author(s):  
Jean Bresson ◽  
Joel Chadabe
Keyword(s):  
Computer Music ◽  
Interactive Composition ◽  
Music Research

Current directions in computer music research

1990 ◽  
Vol 27 (08) ◽  
pp. 27-4438-27-4438
Keyword(s):  
Computer Music ◽  
Music Research

scholarly journals Graphical representation: an analytical and publication tool for electroacoustic music

2004 ◽  
Vol 9 (1) ◽  
pp. 109-113 ◽  
Author(s):  
PIERRE COUPRIE
Keyword(s):  
Graphical Representation ◽  
Music Analysis ◽  
Electroacoustic Music ◽  
The Other ◽  
Music Research

When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication.

Current directions in computer music research

1990 ◽  
Vol 141 (3) ◽  
pp. 528-532
Author(s):  
E.H. Graebner
Keyword(s):  
Computer Music ◽  
Music Research

scholarly journals Computer Music research at FEEC/Unicamp: a snapshot of 2019

2019 ◽  
Author(s):  
Tiago Tavares ◽  
Bruno Masiero
Keyword(s):  
Computer Music ◽  
Research Work ◽  
Lessons Learned ◽  
Computer Engineering ◽  
The Past ◽  
The People ◽  
Music Research ◽  
State Of Affairs ◽  
The University ◽  
Future Work

This is a lab report paper about the state of affairs in the computer music research group at the School of Electrical and Computer Engineering of the University of Campinas (FEEC/Unicamp). This report discusses the people involved in the group, the efforts in teaching and the current research work performed. Last, it provides some discussions on the lessons learned from the past few years and some pointers for future work.

Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas

2021 ◽  
Vol 26 (3) ◽  
pp. 403-412
Author(s):  
Maurice Windleburn
Keyword(s):  
Cultural Studies ◽  
Art History ◽  
Computer Music ◽  
Electroacoustic Music ◽  
Brooklyn College ◽  
Shared Environment ◽  
Compositional Process

While a familiar term in art history, philosophy and cultural studies, ‘hyperrealism’ is rarely applied to music. This is despite Noah Creshevsky’s use of the term to describe his unique compositional process and aesthetic approach. A composer of electroacoustic music and founder of the Brooklyn College Center for Computer Music, Creshevsky has described his musical hyperrealism as a ‘language constructed from sounds that are found in our shared environment (“realism”), handled in ways that are somehow exaggerated or excessive (“hyper”)’. In this article, I summarise the ideas behind Creshevsky’s hyperreal music and compare them to philosopher Jean Baudrillard’s theorisation of the hyperreal. Numerous similarities between Creshevsky and Baudrillard’s ideas will be made evident. The first half of this article focuses on Creshevsky’s sampling of sounds as ‘simulacra’ and how the interweaving textures and melodies that Creshevsky makes out of these samples are similar to ‘simulations’. In the article’s second half, Creshevsky’s creation of disembodied ‘superperformers’ is addressed and related to Baudrillard’s transhumanism. Towards the end of the article, Creshevsky’s aesthetic more broadly and what he calls ‘hyperdrama’ are linked to Baudrillard’s ‘transaesthetics’, before a concluding note addressing Baudrillard and Creshevsky’s different dispositions towards hyperrealism.

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