Nuove Musiche最新文献_第3页

Writing technology : composers 1973-1983 写作技术:1973-1983年作曲家

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/9788833395371

Giacomo Albert, Andrea Valle

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Marina Khorkova's Compositional Practices : Research, Language, Techniques 玛丽娜·霍尔科娃的作曲实践:研究、语言、技巧

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972145

Luca Guidarini

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Technology between performance and multimedia : an interview with Sarah Nemtsov 表演与多媒体之间的技术:采访Sarah Nemtsov

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972147

Giacomo Albert

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Nuova complessità, antico candore 新的复杂性，古老的坦率

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922575

Giovanni Guanti

{"title":"Nuova complessità, antico candore","authors":"Giovanni Guanti","doi":"10.12871/97888333922575","DOIUrl":"https://doi.org/10.12871/97888333922575","url":null,"abstract":"Attraverso l’analisi di partiture e scritti di poetica di Jonathan Harvey, il saggio si prefigge di creare una tensione dialettica tra l’impiego compositivo di sempre piu progredite tecnologie elettroacustiche e l’insistenza (crescente nel corso dell’evoluzione creativa del maestro britannico) sul concetto di “ispirazione”, con un vasto corredo di riflessioni riconducibili in senso lato al tema di ascendenza romantica dello “spirituale nella musica”. Intesa dunque, questa, come «a medium for a higher mode of consciousness or awareness, or […] a connection with it or a representation or model of it».\u0000E un dato di fatto che la digitalizzazione del suono, onnipresente ormai in ogni pratica musicale sia elitaria sia popular, se va coniugandosi con un appello alla riscoperta dei valori della tradizione umanistica, non puo che sollevare interrogativi a nostro avviso ineludibili: innanzitutto, circa la possibilita e la congruita stessa di tale problematica convergenza.\u0000Con riferimento a diverse fonti (Benjamin, Messiaen, Bortolotto, Ferneyhough, Busoni, Adorno ecc.), l’Autore correla la prepotente tensione evolutiva dei materiali e delle pratiche musicali degli ultimi decenni – teatro di questo fenomeno epocale che vide Jonathan Harvey tra i protagonisti – con spinte in senso contrario che si potrebbero definire anche – stando alle prese di posizione poetiche ed estetiche – nostalgiche, regressive, arcaicizzanti se non addirittura irrelate al prodotto sonoro stesso cui pretendono di essere intimamente legate.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130219133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Questionnaire for composers 作曲家问卷

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184284

R. Reynolds

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Extended : an Introduction to the Work of Ashley Fure 扩展:介绍阿什莉·福尔的工作

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972142

Ross Feller

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Automata in extremis : Mauro Lanza's sublime sound machines 极端的自动机:Mauro Lanza的卓越声音机器

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/9788833395374

Amy Bauer

{"title":"Automata in extremis : Mauro Lanza's sublime sound machines","authors":"Amy Bauer","doi":"10.12871/9788833395374","DOIUrl":"https://doi.org/10.12871/9788833395374","url":null,"abstract":"Mauro Lanza and composer-technologist Andrea Valle’s cycle Systema Naturae (2013-17) combines acoustic instruments with computer-controlled mechanical sound objects. The first work of the cycle, Regnum animale, surrounds a string trio with a circle of computer-driven, electro-mechanical devices, whimsical creations that offer a second life to discarded consumer electronics such as hair dryers and electric knives. Every performance of Regnum animale will be different, as the jerry-rigged mechanical objects necessarily break down or malfunction, as part of an instrumentarium in a state of constant becoming. Regnum animale thus represents a paradoxical combination of ideals. The composers demand extreme rigor from themselves and their performers. Yet both composer and performer blend their efforts with the the contingent sounds and rhythmic qualities of found and discarded consumer objects. Lanza recomposed five of the Regnum animale for orchestra as the basis for Anatra digeritrice (Piccola Wunderkammer di automi oziosi ) (2014), inspired by the Eighteenth-century inventor Jacques de Vaucanson’s duck automaton Le Canard Digérateur (1739). Although the recomposition imparts a certain a sense of depth and grandeur to its source, Anatra remains, in Lanza’s words, «a little collection […] of precision-made mechanisms that move about pointlessly». Lanza’s The Kempelen Machine from 2015 celebrates Wolfgang von Kempelen’s speaking machine developed at the end of the 18th century by orchestrating the results of a human-mechanical voice hybrid. 1 These “characters” – the mechanical sound objects, defecating duck, and talking machine – represent automatons in the most general terms: contradictions in the delicate balance between nature and artifice that flaunt their own “insoluble paradox”, in the words of Minsoo Kang. The figures of Vaucanson and Kempelen marked the beginning and end of the Enlightenment’s fascination with automatons, and their respective “failures” only heightened the fascination of their creations for contemporary and later audiences. In a similar way the clash between precision and chance in Regnum, Anatra and Kempelen highlights the allure of technology’s flawed analogues of the real. As Regnum brought the flawed sound of discarded objects to a chamber music stage, Anatra digeritrice transforms actual automata into that most deceptive machine, the modern orchestra. The Kempelen Machine recreates the acoustic grandeur of its namesake’s failure, a ventriloquist’s dummy speaking not for its master, but for what its master desired.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133993664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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La partitura non è l'opera 乐谱不是歌剧

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/978886741842812

Marco Angius

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As if you were holding a bike handle : Malin Bång's transformation of the everyday into music 就好像你拿着一个自行车把手:马林·巴格把日常变成了音乐

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333957915

Julia H. Schroder

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Ars nova: ventuno compositori italiani di oggi raccontano la musica, a cura di Sara Zurletti: invito alla lettura Ars nova: 21位意大利作曲家讲述了萨拉·祖莱蒂的音乐:阅读邀请

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/978886741842811

M. Spagnolo

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