4 research outputs found
Negotiating the frontier between computer-assisted composition and traditional writing : the utility of each and their effective cross-integration
SubventionnĂ© en partie par la FRQSCAlors que les ordinateurs ont eu une influence majeure sur la composition musicale, par le biais de la musique eÌlectroacoustique et la composition assisteÌe par ordinateur (CAO), il peut exister une division entre ceux qui utilisent surtout des techniques dâeÌcriture traditionnelles (composition intuitive faite aÌ la main) et ceux qui incorporent des eÌleÌments algorithmiques dans leur musique. Ce qui suit est une exploration de quelques-unes des façons de creÌer des points de rencontre plus fluides entre les mondes dâeÌcriture intuitive et la composition assisteÌe par ordinateur, en utilisant certains logiciels et pratiques speÌcifiques aÌ la composition assisteÌe par ordinateur. Ceux-ci sâeÌtendent des situations ouÌ lâordinateur nous pousse leÌgeÌrement dans une direction ou fournit un reÌservoir dâinformation dans laquelle on peut puiser, jusquâaÌ des situations ouÌ, en se servant des indices de lâusager, lâordinateur exerce un grand degreÌ de controÌle sur lâinformation musicale finale. Des Ćuvres de l'auteur serviront aÌ deÌmontrer lâusage dâun nombre de ces technologies, en conjonction avec des explications plus deÌtailleÌes de leur incorporation.
Une premieÌre section ciblera la composition et les techniques de programmation pour lâinteÌgration leÌgeÌre de CAO, refleÌtant une approche plus intuitive. Les pieÌces Mutations II, « Waves » et « Run » de Short Pieces on Falling, Never a Moment Lost, et (Let Me Hear) What Maria Hears, parmi dâautres, serviront aÌ deÌmontrer lâefficaciteÌ de ces techniques.
La deuxieÌme section observera lâinteÌgration moyenne de CAO, deÌmontreÌe par le systeÌme modulaire de progressions de lâauteur. Cette structure, deÌveloppeÌe en OpenMusic, aide aÌ la geÌneÌration de progressions musicales, et est facilement adaptable et modifiable pour diffeÌrentes pieÌces. Ce systeÌme sera examineÌ principalement par une analyse des Ćuvres Melodious Viscosity et Like a Square Peg.
La troisieÌme et dernieÌre section concerne un niveau eÌleveÌ dâinteÌgration de CAO par lâintermeÌdiaire des gestes, utilisant le logiciel ScoreScrub de lâauteur. En se servant de ce logiciel, lâusager peut effectivement faire du scrubbing aÌ travers des segments de partitions existants afin de produire de nouveaux passages musicaux. Les Ćuvres centrales analyseÌes seront Gift efter Carl Herman Erlandsson et la pieÌce orchestrale, VaÌrlden och Jag.While computers have had a major influence on music composition, both through electroacoustic music and computer-assisted composition (CAC), there can remain a divide between those pursuing more traditional writing techniques (intuitive composition done by hand) and those incorporating algorithmic elements in their music. The following is an exploration of some of the ways to produce smoother intersections between the worlds of intuitive writing and computer-assisted composition, through the use of a number of different computer-assisted composition software and practises. These range from situations where the computer provides little more than a gentle nudge or a pool of information from which to draw, to situations where, through the userâs input, the computer exerts a high degree of control on the final musical information. Works by Matthew Lane will demonstrate the use of some of these technologies, alongside detailed explanations of how they were incorporated.
A first section will look at composition and programming techniques for low integration of CAC, reflecting a more intuitive approach. The works Mutations II, âWavesâ and âRunâ from Short Pieces on Falling, Never a Moment Lost, and (Let Me Hear) What Maria Hears, amongst others, will serve to demonstrate the efficiency of these techniques.
A second section focuses on medium integration of CAC, as demonstrated by the authorâs modular progression management system. This framework, developed in OpenMusic, helps in the generation of progression passages, and is adaptable and easily modified for different works. This framework will be examined primarily through the works Melodious Viscosity and Like a Square Peg.
The third and final section looks at high CAC integration through gesture, using the authorâs software ScoreScrub. Using this software, the user can effectively âscrubâ across existing score samples to produce new musical passages. The primary works analysed will be Gift efter Carl Herman Erlandsson and the orchestral work VaÌrlden och jag
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A study and catalogue of French flute music written between 1945 and 2008
Includes bibliographical references (leaves 352-368).French contemporary flute works are seldom performed outside France, and most of the composers are relatively unknown to the rest of the world. These works often include new instrumental performance techniques, known as âextended techniquesâ or avant-garde techniques, which were developed by prominent flute performers in collaboration with composers. The study and performance of works which include extended techniques remain daunting to most South African flautists. Extensive research reveals no existence of a catalogue which represents all French composers and their works for flute after 1945. There is also a great shortage of available literature which prevents flautists, especially outside of Europe, from studying these works. The main objective of this dissertation is to fill this void