MARC 主機 00000nam  2200349   4500 
001    AAI3462449 
005    20120618092427.5 
008    120618s2011    ||||||||||||||||| ||eng d 
020    9781124734828 
035    (UMI)AAI3462449 
040    UMI|cUMI 
100 1  Charles, Jean-Francois Emmanuel 
245 10 Music Composition:  An Interactive Approach 
300    156 p 
500    Source: Dissertation Abstracts International, Volume: 72-
       09, Section: A, page: 3035 
500    Adviser:  Hans Tutschku 
502    Thesis (Ph.D.)--Harvard University, 2011 
520    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 
520    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 
520    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 
520    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 
520    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 
590    School code: 0084 
650  4 Music 
690    0413 
710 2  Harvard University 
773 0  |tDissertation Abstracts International|g72-09A 
856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/
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