Enhancement of perforated rolls for player piano: design and development of software for converting scans into MIDI format.

openIl progetto vuole trasformare le scansioni dei rulli traforati degli autopiani in file MIDI utilizzabili. Il software sviluppato rappresenta un passo significativo verso la conservazione e la fruizione digitale di queste preziose registrazioni musicali storiche. L'approccio proposto apre nuove opportunità per l'analisi e l'interpretazione di questi rulli, consentendo la preservazione e l'accessibilità della loro ricchezza artistica

Enrique Granados’s Performance Style. Visualising the Audible Evidence

Enrique Granados Welte-Aufzeichnungen eigener Werke werden im Hinblick auf den Quellenwert der Rollen ebenso besprochen wie hinsichtlich der Interpretationsansätze des Komponisten

Analog to Digital: Harnessing Peer Computing

Twenty years ago the recording industry alleged consumers were killing music sales by recording their own cassette tapes at home. Today, this argument is directed at peer-to-peer (P2P) networks: Illegal file-sharing kills the sales of recorded music. In an effort to determine copyright law\u27s affect on innovation in peer comuting, this Note examines the recording industry\u27s response to P2P networks. The recording industry employs five strategies: (I) public education; (2) licensed online music subscription services; (3) warnings, injunctions, and enforcement; (4) Digital Rights Management; and (5) lobbying Congress for expanded copyright protection. However, the industry\u27s strategy also chills investment in peer computing and drives development in unpredictable directions. While P2P networks are rife with copyrighted works, innovative uses of peer communication are also reshaping how Americans consume and distribute content. In many ways, innovation in peer computing might determine the future of communication. The recording industry and Congress have a choice: shape a future for peer computing, or eliminate a novel form of communication

Rund um Beethoven. Interpretationsforschung heute

Der vorliegende Band ist herausgewachsen aus dem gleichnamigen Berner Symposium vom Herbst 2017, das wiederum im Kern auf drei grösseren SNF-Projekten basiert, die an der Hochschule der Künste Bern angesiedelt sind: Vom Vortrag zur Interpretation, Annotated Scores und Angewandte Interpretationsforschung. Es geht hier um die Erforschung von Aufführungs- und Interpretationstraditionen, um Methoden angewandter Interpretationsforschung, um die Spannung zwischen kommentierten Ausgaben, Dirigiereintragungen und dem klanglichen Resultat. Seit Anbeginn erwies sich Ludwig van Beethoven und hier insbesondere sein pianistisches und sinfonisches Werk als grösste Herausforderung und beliebtestes Exempel, weshalb wir unser viertägiges Symposium wie auch diesen Band rund um Beethoven gruppierten. Der Band fasst den Interpretationsbegriff bewusst breit und spiegelt damit das Spektrum der Interpretationsforschung an unserer Schule: Editionen, die sich bei ihren Entscheidungen auf bestimmte Interpretationen festlegen müssen, kommentierte Ausgaben, Tonträger, seien es nun auditive oder Welte- und weitere Klavierrollen, die uns quasi den Finger- und den Fussabdruck berühmter Interpretinnen und Interpreten geben, ferner ein Nachspielen als Re-Enactment, aber auch Spuren von Interpretationen, die sich in Bearbeitungen und in der Rezeption finden. Getreu unserer angewandten Forschung, die wir seit 2016 als BFH-Zentrum Arts in Context bündeln, gehen wir aber über das Musikwerk hinaus und diskutieren auch dessen Interpretation durch Regisseurinnen, Choreografen und weitere Komponistinnen. - Von welchen Voraussetzungen wird Improvisation um 1800 bestimmt und welchen Zwecken dient sie? - Welche standardisierten kompositorischen Modelle liegen ihr zugrunde und innerhalb welchen Rahmens von Aufführungskonventionen bewegt sie sich? - Inwiefern werden diese Konventionen in ihrer spontanen Kombination gedehnt oder gesprengt? - Welche Hinweise auf Improvisation finden sich in den Quellen zu Kompositionslehre und Aufführungspraxis, welchen Stellenwert hat sie in zeitgenössischen Ausbildungskonzepten? - In welchem Verhältnis stehen schriftlich fixierte Komposition und Improvisation

Towards a digitally conceived physical performance object

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 122-126).In the performing arts, the relationship that is established between what is seen and what is heard must be experienced to fully appreciate and understand the aesthetics of performance. Actual physical objects such as musical instruments, lights, elements of the set, props, and people provide the visual associations and a tangible reality which can enhance the musical elements in a performance. This thesis proposes that new and artistic physical objects can, in themselves, be designed to perform. It introduces the Chandelier, a kinetic sculpture, a central set piece for a new opera, a new kind of musical instrument, and an object that performs. The piece moves and changes shape through mechanical action and the designed interplay between surfaces and light. It is intended to be interacted with by musicians and players of the opera. This thesis also explores the design process and evolution of the Chandelier with a primary objective of realizing a constructible, physical performance object through an authentic and abstruse digital conception. It is a conception not of a static nature, but incorporates a dynamic sense of changeable form through coordinated elements of light, mechanics, and sculpture.Steven L. Pliam.S.M

Keys to Play: Music as a Ludic Medium from Apollo to Nintendo

How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to Play spans Greek myth and contemporary Japanese digital games to chart a genealogy of musical play and its animation via improvisation, performance, and recreation. As a paradigmatic digital interface, the keyboard forms a field of play on which the book’s diverse objects of inquiry—from clavichords to PCs and eighteenth-century musical dice games to the latest rhythm-action titles—enter into analogical relations. Remapping the keyboard’s topography by way of Mozart and Super Mario, who head an expansive cast of historical and virtual actors, Keys to Play invites readers to unlock ludic dimensions of music that are at once old and new

Digital Sound Studies

The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship. This volume’s contributors provide a blueprint for making sound central to research, teaching, and dissemination. They show how digital sound studies has the potential to transform silent, text-centric cultures of communication in the humanities into rich, multisensory experiences that are more inclusive of diverse knowledges and abilities. Drawing on multiple disciplines—including rhetoric and composition, performance studies, anthropology, history, and information science—the contributors to Digital Sound Studies bring digital humanities and sound studies into productive conversation while probing the assumptions behind the use of digital tools and technologies in academic life. In so doing, they explore how sonic experience might transform our scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive

Reproducing Prevention: Teen Pregnancy and Intimate Citizenship in the Post-Welfare Era

This dissertation examines the politics of teen pregnancy prevention in the 1990s and early 2000s within public policy, popular culture, and local and national nonprofit advocacy. Widely viewed as a distressing social problem, teenage reproduction has provoked decades of prevention and regulation that pervade across public and private sectors. Teen pregnancy has been associated with, if not fully blamed for, a host of other so-called social problems throughout the 1980s, 1990s, and the beginning of the twenty-first century. As scholars such as Kristen Luker and Lisa Arai have labored to illustrate, causal connections between adolescent reproduction and the social ills it is said to precipitate and exacerbate are tentative at best. As such, the ubiquity of demonizing portrayals of teen pregnancy and parenthood as dangerous and irresponsible demands evaluation for what it can reveal about the values that govern mainstream society. Heavily racialized imagery of teen pregnancy was crucial to the passage of neoliberal welfare reform in 1996. Using historical, visual, and discursive analysis, I argue that contemporary privatized teen pregnancy prevention forms a key counterpart to neoliberal welfare retrenchment. I show that representations of and approaches to teen pregnancy as a social problem have shifted starkly in the post-welfare era toward a newly multicultural framework. Pioneered by some of the foremost architects of 1990s welfare reform legislation, this new discourse is purveyed through a privatized regime of coordinated social media and television that presents the management of teen sexuality as central to social wellbeing. As such, the post-welfare teen pregnancy prevention regime undergirds and extends the political and economic project of neoliberalism in three important and interrelated ways: (1) by promoting the intertwining neoliberal cultural logics of intimate citizenship, multiculturalism, and market rationality, (2) by obscuring the continued existence and lack of efficacy of punitive welfare reform policy, and (3) by helping to instantiate a paradigm of public wellbeing that sidesteps state-arbitrated wealth redistribution altogether