Nuove Musiche最新文献_第4页

Cyberbored/Culture-Jammed : the short-circuit of musical progress 网络无聊/文化堵塞:音乐进步的短路

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333957911

Max Erwin

引用次数: 0

A friendly reminder: get used to the unheard not to end up devoured. 友情提醒:要习惯闻所未闻的事情，以免最终被吞噬。

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674173084

G. Guanti

{"title":"A friendly reminder: get used to the unheard not to end up devoured.","authors":"G. Guanti","doi":"10.12871/97888674173084","DOIUrl":"https://doi.org/10.12871/97888674173084","url":null,"abstract":"Personally, I associate musics inclined to follow the rules of the common practice with the overwhelming power of the Market; all others (including atonal and post-tonal ones of all kinds) with various statements of aesthetic, political, economic, psychological etc. resistance to it. Through the antithesis common vs uncommon practice in music we can also retrieve a hidden knowledge behind and inside a conceptual assonance that does not belong only to the Italian language: “protensione/propensione” (“protension/propensity” in English) and invites us to an etymological digging. The feeling that music is progressing or moving forward in time was doubtless one of the most fundamental characteristics of musical experience in Western culture; nevertheless, this tension towards a goal in a teleological perspective is still problematic: metrical time remains fi rmly cyclic in a trivial sense, since it involves a cyclic patterning of accents (as in the vast majority of musics created by following common practice’s rules). Music theorists – using a well-tested language and a nomenclature inherited from the traditional tonal past – encounter many diffi culties when analyzing the post-tonal era’s sounds. Indeed, surviving uncommon practices express themselves in musics that refuse a priori categories such as tension and direction: so the evidence shows them to be classifiable only as unica.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"79 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":"114320715","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}

引用次数: 0

Jonathan Harvey's Early Work with Electronics, 1968-78 乔纳森·哈维对电子学的早期研究，1968-78

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922571

P. Griffiths

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Suona Mozart, va bene lo stesso: annotazioni in controcanto su tratti ricorrenti e clichés stilistici in musica 播放莫扎特的音乐，这很好:在音乐中反复出现的特征和风格陈词滥调的伴奏

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184288

Rosario Mirigliano

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Time's arrow in spectral music 时间的箭在幽灵般的音乐中

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/978886741730810

Ingrid Pustijanac

{"title":"Time's arrow in spectral music","authors":"Ingrid Pustijanac","doi":"10.12871/978886741730810","DOIUrl":"https://doi.org/10.12871/978886741730810","url":null,"abstract":"Sonographic analysis offers composers of spectral music a wealth of scientific data regarding the internal and temporal structure of sound. Starting from these observations various techniques of instrumental synthesis have been elaborated, including sonogram simulation, ring modulation, frequency modulation, etc. These represent the basis of the spectral compositions of the Seventies. The grounding elements of the spectral attitude are based on one hand on the continuity of the acoustic field (from sine wave through various forms of harmonic and inharmonic spectra toward white noise) and, on the other, on the continuity of the fi eld of durations (from periodicity to the statistical distribution). Considering these perceptual points of orientation, the composers organize various transformational processes and by so doing they articulate the global form. The concept of directionality, abandoned during the integral serialism practice, is now restored thanks to the trajectories of transformational processes which shape the sound material in its restless becoming. Handling these trajectories from both the compositional and the perceptual point of view and inspired by Stockhausen’s “Veranderungsgrad”, Grisey theorizes the concept of pre-audibility. It refl ects the composers’ interest in the perceptual dimensions and in the role the difference plays in the processes of building both the local and macrostructural trajectories. In the early phase (Seventies and early Eighties) the spectral processes time’s arrow seems irreversible. However, the extreme slowness and predictability of sound becoming introduce some new challenges to composers. The concept of temporal scale is theorized and it acts as factor of new macroformal dynamics as well as new temporalities.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"1 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":"129839485","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}

引用次数: 2

Living things : sound and physical presence as measures of musical agency and immersion in Apophänie by Rama Gottfried 活生生的东西:声音和物理存在作为音乐代理和沉浸度的衡量标准，作者:Rama Gottfried Apophänie

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/9788833395373

John W. Bernet

引用次数: 0

Machines can only dream of mistakes : the one-bit music of Tristan Perich 机器只能梦想犯错:特里斯坦·佩里奇(Tristan Perich)的一比特音乐

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333957912

M. Sargent

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Come dovrebbe essere una rivista di musica contemporanea oggi: sondaggio n. 1: opinioni e proposte dei compositori italiani 就像今天的当代音乐杂志:民意调查1:意大利作曲家的观点和建议

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/978886741842813

Elena Abbado

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Analysis of the temporal structures underlying the listeners' experience of tension 听者紧张体验的时间结构分析

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674173085

E. Negretto

{"title":"Analysis of the temporal structures underlying the listeners' experience of tension","authors":"E. Negretto","doi":"10.12871/97888674173085","DOIUrl":"https://doi.org/10.12871/97888674173085","url":null,"abstract":"When listening to music, listeners experience a sense of tension which is in part determined by the music itself and in part by the way they perceive it. In particular, listeners recognize that the music has an objective structure characterized by a vectorial movement directed toward a specifi c goal. Subjectively, the sense of tension that they experience is developed through the temporal movement of human consciousness. This determines the kind of musical experience that they have at the perceptual level. But how can we describe the listeners’ subjective experience of tension and its relation to the “vectoriality” of music? Which are the temporal structures that characterize such experience and determine the meaning and understanding of music? I discuss the problem from a phenomenological point of view and starting with a theoretical distinction aimed at describing the sense of tension experienced by the listener. In particular I analyse the temporal structure of human consciousness and the levels that characterize\u0000its development toward the future: protention, expectation and anticipation. The goal is to analyse how their movement and the encounter with the form of music determine the subject’s musical experience: its meaning and the listener’s comprehension of music.The distinction between expectation and anticipation is also aimed at better describing the way the vectorialityof post-tonal music is experienced by untrained listeners. In this case, do the listeners still perceive a sense of tension? Are they able to create expectations and anticipations? I argue that they are able to experience tension because they create expectations ‘in the moment’ which may lead to emotional responses. Despite of this the vectorial aspect of this music is not experienced in its fullness because of a lack of anticipation. To develop this idea I take into account the specifi c case of timbre based expectations.Through this analysis I suggest that we can better defi ne the listeners’ musical experience and describe how they ‘resonate’ with the environment to create emotional, meaningful experiences while listening to every kind of music.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"45 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":"114467969","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}

引用次数: 0

Performing computer music : the case of Ryan Carter's Trying to Connect 表演电脑音乐:瑞恩·卡特的《尝试连接》的案例

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972143

Paolo Zavagna

引用次数: 0