El sonido sin cuerpo y el sonido re-incorporado: una expansión del cuerpo sónico de los instrumentos

The development of recording technologies, audio manipulation techniques, and sound synthesis opened new sonic horizons. At the same time, realising or reproducing these new sounds creates issues of disembodiment and/or a total lack of physical-gesture-to-audio relationship. Understanding the impact these issues have on our perception and comprehension of music becomes central in the light of new creative practices, in which developing hardware and software has become part of the creative process. These creative practices force us to re-think the role of performance and the medium (musical instruments) in the essence of the musical work. Building upon previous research, a set of possible configurations for hyperinstrument design is presented in this article with the aim to introduce novel ways of thinking about the relationship of the physical body of the instrument (resonant body), the sonic body (the acoustic phenomena unfolding in a physical space), and performance.Con el desarrollo de tecnologías de grabación y técnicas de manipulación audio, así como síntesis de audio, aparecieron nuevos horizontes sonoros. Al mismo tiempo, crear o reproducir estos nuevos sonidos invocó al problema de la incorporeidad y/o a un rompimiento en la relación entre el gesto físico y sonido. La comprensión del impacto que esta problemática tiene sobre nuestra percepción y entendimiento de la música se ha vuelto central bajo la luz de las nuevas prácticas creativas en las cuales el desarrollo de hardware y software forman parte del proceso creativo. Estas prácticas creativas nos fuerzan a repensar el rol de la interpretación y el medio (los instrumentos musicales) dentro de la esencia de la obra musical. En base a investigación previa, este articulo presenta un conjunto de posibles configuraciones para el diseño de hiperinstrumentos con el fin de introducir nuevas formas de pensar en la relación entre el cuerpo físico del instrumento (cuerpo sonoro), el cuerpo acústico (el fenómeno acústico manifestado en un espacio) y la interpretación

Volume 75, Number 03 (March 1957)

Hail and Farewell to The Grand Old Man of Music Confusion Confounded: An Objective Explanation of Some Frequently Perplexing Musical Terms Singing Must be Natural (interview with Victoria de los Angeles) Music\u27s Part in Social Integration Mariachis of Mexico Henry Cowell—Musician and Citizen, Part 2 Music in the Schools High School Symphony Orchestra . . . How It Is Made New Studiohttps://digitalcommons.gardner-webb.edu/etude/1077/thumbnail.jp

AXMEDIS 2007 Conference Proceedings

The AXMEDIS International Conference series has been established since 2005 and is focused on the research, developments and applications in the cross-media domain, exploring innovative technologies to meet the challenges of the sector. AXMEDIS2007 deals with all subjects and topics related to cross-media and digital-media content production, processing, management, standards, representation, sharing, interoperability, protection and rights management. It addresses the latest developments and future trends of the technologies and their applications, their impact and exploitation within academic, business and industrial communities

A Performance Analysis of Cloud Folk for Percussion Octet and Piano by John Psathas

John Psathas is the one of the most forefront, living New Zealand composers and is considered to be one of the three most important living composers of the Greek Diaspora. His music is performed across the globe, most notably as the opening and closing ceremony music for the 2004 Olympic Games in Athens, Greece. His percussion music has been championed by percussionists for three decades, starting with Dame Evelyn Glennie with the work Matre’s Dance. Psathas still receives regular commissions for percussion instruments, having released multiple works in the last few years and multiple works still to be premiered. The purpose of this dissertation is to explore the percussion works of John Psathas and its place in modern percussion literature, understand Psathas’s compositional style, and provide insights to performing his works. Interviews with individuals who have worked with Psathas and his music, as well as interviews with the composer himself provide an in-depth look at these works. Taking that knowledge, the dissertation provides an in-depth analysis into the theory and performance practice of Cloud Folk (2017), including harmony, setup, ensemble balance, instrument consideration, style, rehearsal markers, and specific performance considerations for each section

Volume 62, Number 12 (December 1944)

Dawn on the Horizon Fresh Winds Will Blow Again: A Discussion of Music and Meteorology: A Physician Tells How the Weather Gets on Composers’ Nerves Ladder to Virtuosity (interview with Mischa Elman) Quiz to Test Your Musical Knowledge How to Rehearse (interview with Donald Voorhees) Edgar Stillman Kelley Passes If Parents Had Had Their Way Music as a Living, Human Element New York\u27s First Opera What Nazism Has Done to German Song: What Happens to the Tunes When Hitler Provides the Words Voice Training Through Emotions (interview with John Seaman Garns) Immortal Pat: America\u27s Super-Salesman of Music Katherine Ruth Heyman—A Tributehttps://digitalcommons.gardner-webb.edu/etude/1062/thumbnail.jp

Nonlinear Dynamics In Musical Interactions

This thesis examines nonlinear dynamical processes in musical tools, identifying certain roles that they play in creative interactions with existing tools, and investigates the roles they might play in digital tools. Nonlinear dynamical processes are fundamental in the everyday physical world. They lie at the core of many acoustic instruments, playing a particularly significant role in bowed and blown instruments. Two major studies are presented that approach these issues from different perspectives. Firstly a set of comparative studies explore the ways in which musicians engage with systems that do and do not incorporate nonlinear dynamical processes. Secondly, interviews with a range of musicians engaged in contemporary musical practices — particularly free improvisation — are used to investigate the role of nonlinear dynamical processes in instrumental interactions in relation to unpredictability and creative exploration. Evidence is presented demonstrating that nonlinear dynamical processes can be drawn on as resources for exploration over long time periods. An approach to creative interaction that explicitly draws on the properties of nonlinear dynamical processes is uncovered and connected to material-oriented notions of creative processes. Nonlinear dynamics are shown to facilitate a productive ‘‘sweet spot’’ between unpredictability and complexity on the one hand, and detailed, sensitive, deterministic control, coupled with the potential to repeat and develop particular actions on the other. The importance of timing in interactions with nonlinear dynamical processes is highlighted as being significant in creating explorable interactions, particularly close to critical thresholds. A distinction is raised between instantaneous unpredictabilities that emerge from the interaction with the tool (interactional ), and unpredictabilities that result from the unexpected implications of the conjunction of otherwise anticipated elements (combinatorial). While the usefulness of the latter in creative interactions is frequently acknowledged in HCI research, the former is often excluded, or seen as a hinderance or obstruction. Engagements with nonlinear dynamical processes in existing musical instruments and practices provide clear evidence of the utility of both nonlinear dynamics, and interactional surprises more generally, suggesting that they can be of use in other domains where creative exploration is a concern

Sets in Order: the official magazine of square dancing.

Published monthly by and for Square Dancers and for the general enjoyment of all

Sets in Order: the official magazine of square dancing.

Published monthly by and for Square Dancers and for the general enjoyment of all