Nuove MusichePub Date : 1900-01-01DOI: 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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/97888333922571
P. Griffiths
{"title":"Jonathan Harvey's Early Work with Electronics, 1968-78","authors":"P. Griffiths","doi":"10.12871/97888333922571","DOIUrl":"https://doi.org/10.12871/97888333922571","url":null,"abstract":"","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"50 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":"127878670","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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/97888674184288
Rosario Mirigliano
{"title":"Suona Mozart, va bene lo stesso: annotazioni in controcanto su tratti ricorrenti e clichés stilistici in musica","authors":"Rosario Mirigliano","doi":"10.12871/97888674184288","DOIUrl":"https://doi.org/10.12871/97888674184288","url":null,"abstract":"","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"118 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":"128147797","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}
Nuove MusichePub Date : 1900-01-01DOI: 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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/9788833395373
John W. Bernet
{"title":"Living things : sound and physical presence as measures of musical agency and immersion in Apophänie by Rama Gottfried","authors":"John W. Bernet","doi":"10.12871/9788833395373","DOIUrl":"https://doi.org/10.12871/9788833395373","url":null,"abstract":"","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":"117029497","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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/97888333957912
M. Sargent
{"title":"Machines can only dream of mistakes : the one-bit music of Tristan Perich","authors":"M. Sargent","doi":"10.12871/97888333957912","DOIUrl":"https://doi.org/10.12871/97888333957912","url":null,"abstract":"","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"33 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":"131871185","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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/978886741842813
Elena Abbado
{"title":"Come dovrebbe essere una rivista di musica contemporanea oggi: sondaggio n. 1: opinioni e proposte dei compositori italiani","authors":"Elena Abbado","doi":"10.12871/978886741842813","DOIUrl":"https://doi.org/10.12871/978886741842813","url":null,"abstract":"","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"80 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":"126372562","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}
Nuove MusichePub Date : 1900-01-01DOI: 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}
Nuove MusichePub Date : 1900-01-01DOI: 10.12871/97888333972143
Paolo Zavagna
{"title":"Performing computer music : the case of Ryan Carter's Trying to Connect","authors":"Paolo Zavagna","doi":"10.12871/97888333972143","DOIUrl":"https://doi.org/10.12871/97888333972143","url":null,"abstract":"","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"28 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":"126711979","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}