Encoding Scores for Electronic Music

A perspective on the specific issues of music encoding dealing with Electronic Music is presented. In many cases the works to be discussed exist in a fixed media format and hence no prescriptive score is necessary to facilitate a ‘valid’ performance. While there are a number of descriptive scores for pieces of Electronic Music, these are to be treated differently, as they are purely aimed at analysis and therefore contain a certain information bias. Data that is more comparable to instrumental scores is contained in rare examples of so-called realization scores. It is argued that these realization scores can be identified as the main subject for encoding of Electronic Music works. For this we will discuss an example from one such score by Karlheinz Stockhausen. For his piece KONTAKTE, Stockhausen released a realization score that unfolds a very detailed documentation of all steps made within the studio production of that work, including the complex patching of studio devices and the specific transformation processes achieved by the use of tape machines. The paper presents an approach to formalize and encode all these steps within the framework of a semantic database. Using technology like the semantic web standard, Linked Data and the corresponding RDF/OWL framework, an Electronic Music production setup and its usage can be encoded, stored, and analyzed

Modeling of monostatic bottom backscattering from three-dimensional volume inhomogeneities and comparisons with experimental data

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Ocean Engineering, 1997.Includes bibliographical references (leaves 179-186).by Dan Li.Ph.D

Open, mobile and indeterminate forms

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Since the early fifties “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The introduction looks into different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. Next, the concept of “open form” is elaborated into a territory which is usually not associated with it: jazz. The introduction is followed by five case studies. Folio (1952-54) by Earle Brown is considered to contain the first intentionally “open form” works. It is driven by improvisational ideas, either at the compositional stage or at the interpretative stage. Brown's affinity with jazz also offers connections to other topics of the thesis. Miles Davis' Ife (1972) may at first seem like an odd inclusion in this study, but it is not. Its only oddity could be that of all the works discussed it has no score. But it is a composition; it is recognizable throughout its various incarnations and repeatable, and its outcome is indeterminate. Adam Rudolph did not conceive Ostinatos of Circularity as an “open form” work, but it is an indeterminate composition: it does have a score the musical result of which depends on the decisions made by the composer/conductor during the performance as well as the choices made by the performers. In Peter Zummo's Experimenting with Household Chemicals the performers play the same, often ambiguous, score, moving in the same direction at their own speed and discretion. The lack of synchronicity and the ambiguous notation result in a very elastic organic form. Anne La Berge refers to her recent works as “guided improvisations”. The scores mainly consist of suggestive text materials, software preset descriptions and rudimentary verbal indications, leaving major decisions to the performers. The last chapter is about my own work. It presents seven works (the scores of which can be found in the accompanying portfolio), composed between 2007 and 2011. Each of these works uses the score as a “field” through which the performers roam

Music and time: tempomorphism: nested temporalities in perceived experience of music.

This thesis represents the results of a theoretical and practical investigation of acoustic and electro-acoustic elements of Western music at the start of the twentyfirst century, with specific attention to soundscapes. A commentary on the development of soundscapes is drawn from a multidisciplinary overview of concepts of time, followed by an examination of concepts of time in music. As a response to Jonathan Kramer's concept of `vertical' music (a characteristic aesthetic of which is an absence of conventional harmonic teleology), particular attention is paid to those theories of multiple nested temporalities which have been referred to by Kramer in support of non-teleological musical structures. The survey suggests that new musical concepts, such as vertical music, have emerged from sensibilities resulting from the musical and associated styles of minimalism, and represent an ontological development of aesthetics characteristic of the twentieth century. An original contention of the debate is that innovations in the practice of music as the result of technological developments have led to the possibility of defining a methodology of process in addition to auditive strategies, resulting in a duality defined as 'tempomorphic'. Further observations are supplied, using findings derived from original creative practical research, to define tempomorphic performance, which complete the contribution to knowledge offered by the investigation. Tempomorphism, therefore, is defined as a duality of process and audition: as auditive tool, tempomorphic analysis provides a listening strategy suited to harmonically static music; as a procedural tool, it affords a methodology based primarily on duration

Abstracts 2016: Highlights of Student Research and Creative Endeavors

What follows is a collection of abstracts summarizing the scholarship conducted by undergraduates at Columbus State University during the 2015-2016 academic year. These projects highlight undergraduate research conducted in a wide variety of disciplines, ranging from literary analysis to laboratory based sciences. The abstracts represent many ongoing projects on our campus and catalog those that have been published or presented. This volume begins with projects that have been selected for presentations at national, regional, and statewide disciplinary conferences. Among them are several that have garnered awards for outstanding undergraduate scholarship. Projects that have received competitive research grants, including our campus Student Research and Creative Endeavors (S-RACE) Grants, are also featured. Many undergraduates have presented their work with our local community, either through the dissemination of best practices in nursing to regional hospitals, colloquium presentations of lecture-recitals at the RiverCenter for the Performing Arts, or at Columbus State University\u27s Tower Day held in April 2016. Together these abstracts demonstrate the commitment of our faculty to engage students in their disciplines and represent outstanding mentorship that occurs on and off our campus throughout the year. Our students have amassed an impressive collection of projects that contributes to both academia and our local community, and these abstracts will hopefully inspire others to delve into scientific and creative inquiry.https://csuepress.columbusstate.edu/abstracts/1010/thumbnail.jp

Pierre Schaeffers typo-morphology of sonic objects.

SIGLEAvailable from British Library Document Supply Centre- DSC:D174501 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Related trends in music and painting of the twentieth century

Thesis (M.A.)--Boston University N.B.: Page misnumbered no I

Music and time : tempomorphism : nested temporalities in perceived experience of music

This thesis represents the results of a theoretical and practical investigation of acoustic and electro-acoustic elements of Western music at the start of the twentyfirst century, with specific attention to soundscapes. A commentary on the development of soundscapes is drawn from a multidisciplinary overview of concepts of time, followed by an examination of concepts of time in music. As a response to Jonathan Kramer's concept of 'vertical' music (a characteristic aesthetic of which is an absence of conventional harmonic teleology), particular attention is paid to those theories of multiple nested temporalities which have been referred to by Kramer in support of non-teleological musical structures. The survey suggests that new musical concepts, such as vertical music, have emerged from sensibilities resulting from the musical and associated styles of minimalism, and represent an ontological development of aesthetics characteristic of the twentieth century. An original contention of the debate is that innovations in the practice of music as the result of technological developments have led to the possibility of defining a methodology of process in addition to auditive strategies, resulting in a duality defined as 'tempomorphic'. Further observations are supplied, using findings derived from original creative practical research, to define tempomorphic performance, which complete the contribution to knowledge offered by the investigation. Tempomorphism, therefore, is defined as a duality of process and audition: as auditive tool, tempomorphic analysis provides a listening strategy suited to harmonically static music; as a procedural tool, it affords a methodology based primarily on duration.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Gravitonicity: towards a model of the ‘Gravitation’ in Music

This research develops a model of the ‘gravitation’ in Music. In the literature on the ‘gravitational’ properties of melody and harmony, two sub-metaphors are apparent: ‘distance’ and ‘motion’. Gravitation and Music’s ‘gravitation’ are, therefore, fundamentally separate categories. To benefit from the metaphor without equating the experience of the two, Music’s ‘gravitation’ is designated as ‘Gravitonicity’. The model is developed from three questions: ‘What is Gravitonicity?’; ‘How and to what extent is it possible to derive a model of Gravitonicity from the ‘neutral level’ (Nattiez, 1990, pp. 12)?’ (e.g., music theory); and ‘How does the listener construct the meaning (Nattiez’s ‘esthesic dimension’) of Gravitonicity and to what extent can this lead to a subjective experience?’. Conceptual metaphor theory (Lakoff and Johnson, 1980; 1999) is used to argue that the ‘distance’ is metaphorically shaped by our embodied understanding of physical distance. Steve Larson (2012) uses the same approach to explain the ‘motion’ alongside musictheoretic explanations. Music-theoretic explanations of the ‘distance’ have been historically sporadic and with little consistency in approach. Addressing this lacuna, spectral analysis is undertaken in conjunction with Chord Scale Theory (as taught at Berklee College of Music) to reveal ‘Gravi-Tone Series’’ (GS’): specific mappings of twelve distance (‘g’) values onto all twelve pitch classes (‘gravi-tones’). It is argued that the GS’ are attributed by a four-quality psychological process entitled ‘Gravi-Tone Series Filtering’ (GSF). With a unifying perspective on all types of scales, harmony, and functionality, GSF potentially belongs to the general theory of music. John Shepherd and Peter Wicke’s ‘Semiological Model’ (1997, pp. 173) is used to extrapolate meaning construction, illustrating how Gravitonicity may be negotiable for ’different individuals and in the same individual at different times (pp. 175). Finally, further details of the model are uncovered through its analytical application to the chord-melody jazz guitar repertoire

Music Encoding Conference Proceedings 2021, 19–22 July, 2021 University of Alicante (Spain): Onsite & Online

Este documento incluye los artículos y pósters presentados en el Music Encoding Conference 2021 realizado en Alicante entre el 19 y el 22 de julio de 2022.Funded by project Multiscore, MCIN/AEI/10.13039/50110001103