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作者 Charles, Jean-Francois Emmanuel
書名 Music Composition: An Interactive Approach
國際標準書號 9781124734828
book jacket
說明 156 p
附註 Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: 3035
Adviser: Hans Tutschku
Thesis (Ph.D.)--Harvard University, 2011
Interactivity has been at the heart of music making for centuries- In this portfolio, I contribute to advances in interactive electronic music, and show how interactivity serves the act of composing
My tutorial on spectral sound processing gives the musician examples of frequency-domain sound transformations, implemented in the programming environment Max. During a concert, the composer can perform graphical sonogram transformations, segmentation, cross-synthesis, and mosaicing. I present algorithms to enhance live, extreme time stretching of sounds and audio freeze. Such an extended phase vocoder enables the composer to include spectral sound processing at the heart of chamber music compositions, an approach I demonstrate with Lapalu. Enhanced traditional instruments constitute another promising section in the field of live electronic music, as I show in Electroclarinet 2
In the act of composing, interactivity lies first in the dialogue between the composer and the musical material. When a composer opens her/himself to a renewed composition technique, new creative paths appear. For instance, Risorius is a formula composition, as defined by Karl-heinz Stockhausen. Even though the technique is a child of serial composition, it is mixed with comic theater and choral music to give the piece a unique wittiness. Additional adaptations to a composition technique may go even further. For Bleu 3, I designed an original modus operandi; I produced first the electronic music Bleu 2, then transcribed it for a chamber music quartet. In both Risorius and Bleu 3, I took a different approach. Renewing my composition technique decisively helped me to achieve higher creative goals
Interactivity plays an equally decisive role in the process of working with other artists. The following collaborations entailed vibrant interactive exchange, creating a dynamic medium in which collective artistic creation could occur. With poet Ruth Lepson, improvisations and performances nourished our work on Live Saturation. Concerts shared with saxophonist Alan Lenarcic made a substantial contribution to Viola palustris. Finally, exchanges with dancers and choreographers served a foundational role in the genesis of Puppet & Perpetuum mobile and Coeur brise
I believe that an interactive approach to composition contributes to the advances of electronic chamber and orchestral music, as well as the emergence of an integrated art of music and dance
School code: 0084
Host Item Dissertation Abstracts International 72-09A
主題 Music
0413
Alt Author Harvard University
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