La Sintesi del suono in Iannis Xenakis. Indagine di una ricerca compositiva

IF 0.1 0 MUSIC
Agostino Di Scipio
{"title":"La Sintesi del suono in Iannis Xenakis. Indagine di una ricerca compositiva","authors":"Agostino Di Scipio","doi":"10.36253/music_tec-14418","DOIUrl":null,"url":null,"abstract":"Unlike many composers of his generation, Iannis Xenakis personally devised and implemented the sound synthesis techniques used in some of his creative efforts. Eight of his works feature – in part or exclusively – sounds obtained with analogue or digital synthesis techniques, in a time span that goes from Analogique B (1959) to S.709 (1994). All of his electroacoustic music after La Légend d’Eer (1977) has sounds synthesized with computer technology. The sound synthesis procedures he devised, reflect peculiar operational and technological conditions, and indeed represent tokens of musical and sonological knowledge characteristic of a truly unique practice. In this paper we provide a survey of Xenakis’s efforts with sound synthesis, delineating their historical path through the experimenting of different technical contexts of material production and the corresponding theoretical and musical implications. Xenakis’ approach on sound synthesis is viewed as a domain of design of direct compositional relevance. Across subsequent steps in his carrier, Xenakis’s notion of ‘synthesis’ appears as a process or device generative of sound and music at once, in a single compact constructive gesture or strategy making it difficult to tell matter from form. Gradually, the musical work’s identity seemed to incorporate not just a specific linguistic-formal configuration, but the set of conditions of possibility elaborated by the composer – that is, eventually, the computer programming code (Gendy3, 1992). Iannis Xenakis’ commitment to crafting sound generation techniques – before using them to also craft music – witnesses at an attitude in which the appropriation of the material means of creative labour is an irreducible precondition for freedom of expression and musical aesthetics.","PeriodicalId":36551,"journal":{"name":"Musica Tecnologia","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Musica Tecnologia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.36253/music_tec-14418","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0

Abstract

Unlike many composers of his generation, Iannis Xenakis personally devised and implemented the sound synthesis techniques used in some of his creative efforts. Eight of his works feature – in part or exclusively – sounds obtained with analogue or digital synthesis techniques, in a time span that goes from Analogique B (1959) to S.709 (1994). All of his electroacoustic music after La Légend d’Eer (1977) has sounds synthesized with computer technology. The sound synthesis procedures he devised, reflect peculiar operational and technological conditions, and indeed represent tokens of musical and sonological knowledge characteristic of a truly unique practice. In this paper we provide a survey of Xenakis’s efforts with sound synthesis, delineating their historical path through the experimenting of different technical contexts of material production and the corresponding theoretical and musical implications. Xenakis’ approach on sound synthesis is viewed as a domain of design of direct compositional relevance. Across subsequent steps in his carrier, Xenakis’s notion of ‘synthesis’ appears as a process or device generative of sound and music at once, in a single compact constructive gesture or strategy making it difficult to tell matter from form. Gradually, the musical work’s identity seemed to incorporate not just a specific linguistic-formal configuration, but the set of conditions of possibility elaborated by the composer – that is, eventually, the computer programming code (Gendy3, 1992). Iannis Xenakis’ commitment to crafting sound generation techniques – before using them to also craft music – witnesses at an attitude in which the appropriation of the material means of creative labour is an irreducible precondition for freedom of expression and musical aesthetics.
Iannis Xenakis的声音合成。作曲研究调查
与他那一代的许多作曲家不同,Iannis Xenakis在他的一些创造性作品中亲自设计并实现了声音合成技术。他的八部作品——部分或全部——以模拟或数字合成技术获得的声音为特征,时间跨度从Analogique B(1959)到S.709(1994)。他在1977年的《La lassendd’eer》之后的所有电声音乐都是用计算机技术合成的声音。他设计的声音合成程序,反映了特殊的操作和技术条件,确实代表了音乐和声学知识的特征,这是一种真正独特的实践。在本文中,我们对Xenakis在声音合成方面的努力进行了调查,通过实验不同的材料生产技术背景以及相应的理论和音乐含义,描绘了他们的历史路径。Xenakis的声音合成方法被视为直接组合关联设计的一个领域。在他载体的后续步骤中,Xenakis的“合成”概念表现为声音和音乐同时生成的过程或设备,以单一紧凑的建设性姿态或策略使其难以区分物质和形式。渐渐地,音乐作品的身份似乎不仅包含了特定的语言形式配置,还包含了作曲家精心设计的可能性条件集——也就是最终的计算机编程代码(Gendy3, 1992)。Iannis Xenakis致力于制作声音生成技术——在用它们来制作音乐之前——证明了一种态度,即对创造性劳动的物质手段的占有是表达自由和音乐美学的不可简化的先决条件。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
Musica Tecnologia
Musica Tecnologia Arts and Humanities-Music
CiteScore
0.20
自引率
0.00%
发文量
4
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信