Title: Sekvence a objekty, příspěvek k poznání formálních východisek spektrální hudby
Variant title:
- Sequences and objects, a contribution to understanding formal apsects of spectral music
Source document: Musicologica Brunensia. 2020, vol. 55, iss. 1, pp. 117-138
Extent
117-138
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2020-1-8
Stable URL (handle): https://hdl.handle.net/11222.digilib/142893
Type: Article
Language
Czech
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This text focuses on the formal foundations of spectral music. It is concerned with the elementary concept for the creation of a composition which consists of the generation of sequences of processed objects determined primarily by pitch. This concept has become paradigmatic in the field known as computer assisted composition, and whose formalisation represents a prototype of an instrument for the computer-assisted composition Esquisse (1987) created at the Institut de recherche et coordination acoustique/musique (IRCAM) for the needs of composers sharing the ideological foundations of spectral music. A similarity is brought to light between this concept and the compositional thinking of Iannis Xenakis as applied to the creation of Stochastic Music Program (1962). The Esquisse insrument is analysed with the aid of an as yet unpublished manual provided by IRCAM, where it was used as an internal document.
References
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[2] ASSAYAG, Gérard – RUEDA, Camilo. The Music Representation Project at IRCAM. In International Computer Music Conference Proceedings, 1993. Ann Arbor: Michigan Publishing, 1993, 206–209.
[3] ASSAYAG, Gérard. Visual Programming in Music. In International Computer Music Conference Proceedings, 1995. Ann Arbor: Michigan Publishing, 1995, s. 73–76.
[4] ASSAYAG, Gérard – RUEDA, Camilo – LAURSON, Mikael (et al.). Computer-Assisted Composition at IRCAM – From PatchWork to OpenMusic. Computer Music Journal, 1999, roč. 23, č. 3. s. 59–72.
[5] BAISNÉE, Pierre-Francois – BARRIÈRE, Jean-Baptsite – DALBAVIE, Marc – André et al. ESQUISSE: A Compositional Environment. In International Computer Music Conference Proceedings, 1988. Ann Arbor: Michigan Publishing, 1988, s. 108–118, s. 108.
[6] BAISNÉE, Pierre Francois. ESQUISSE: MODE D'EMPLOI. Francie: IRCAM, interní dokument, květen, 1988.
[7] BOULEZ, Pierre. Penser la musique aujourd'hui. Paříž: Gallimard, 1987.
[8] Contemporary Music Review, 2000, roč. 19, č. 2.
[9] DELEUZE, Gilles – GUATTARI, Félix. Tisíc plošin. Praha: Herrmann & synové, 2010.
[10] DONIN, Nicolas. Sonic Imprints: Instrumental Resynthesis in Contemporary Music. In Musical Listening in the Age of Technological Reproduction. Borio Gianmario (ed.), Routledge 2015, s. 323–341.
[11] DROTT, Eric. Spectralism, Politics and the Post-Industrial Imagination. In The Modernist Legacy: Essays on New Music. Björn Heile (ed). Farnham: Ashgate Publishing, 2009, s. 39–60.
[12] DUFOURT, Hugues. Musique spectrale. In DUFOURT, Hugues. Musique, pouvoir, écriture. Paris: Christian Bourgois, 1991, s. 289–294.
[13] FINEBERG, Joshua. Musical examples. Contemporary Music Review, 2000, roč. 19, č. 2, s. 115–134. | DOI 10.1080/07494460000640281
[14] FINEBERG, Joshua. Guide to the basic concepts and techniques of spectral music. Contemporary Music Review, 2000, roč. 19, č. 2, s. 85–199.
[15] GRISEY, Gérard. La musique: Le devenir des sons. Darmstädter Beiträge zur Neuen Musik, 1984, č. XIX. Mainz: Schott's Sohne, 1984, s. 16–23.
[16] GRISEY, Gérard. Tempus ex Machina: A composer's reflections on musical time. Contemporary Music Review, 1987, roč. 2, s. 239–275. | DOI 10.1080/07494468708567060
[17] GRISEY, Gérard. Structuration des timbres dans la musique instrumentale. In Le Timbre: métaphore pour la composition. Jean-Baptiste Barrière (ed.). Paříž: IRCAM, Bourgois, 1991, s. 352–385.
[18] GRISEY, Gérard. propos de la synthèse instrumentale. In GRISEY, Gérard: Écrits – ou l'invention de la musique spectrale. Guy Lelong (ed.). Paříž: Édition MF, 2008, s. 35–37.
[19] HASEGAWA, Robert. Gérard Grisey and The 'Nature' of Harmony. Music Analysis, 2009, roč, 28, č. 2/3, s. 349–371.
[20] LAURSON, Mikael – DUTHEN, Jacques. Patchwork a graphic language in Preform. In International Computer Music Conference Proceedings, 1989. Ann Arbor: Michigan Publishing, 1989, s. 172–175.
[21] LAURSON, Mikael – KUUSKANKARE, Mika. PWGL. A Novel Visual Language based on Common Lisp, CLOS and OpenGL. In International Computer Music Conference Proceedings, 2002. Ann Arbor: Michigan Publishing, 2002, s. 142–145.
[22] Le Timbre: métaphore pour la composition. Jean-Baptiste Barrière (ed.). Paříž: IRCAM, Bourgois, 1991.
[23] MYHILL, John. Some Simplifications and Improvements in the Stochastic Music Program. In International Computer Music Conference Proceedings. Ann Arbor: Michigan Publishing, 1978, s. 272–317.
[24] ROGERS, Bruce. A user's manual for Stochastic Music Program. Bakalářská práce, Indiana University Bloomington-Scholl of Music, 1972.
[25] SYROVÝ, Václav. Hudební akustika. Praha: Akademie múzických umění v Praze, 2013.
[26] The computer music tutorial. Curtis Roads (ed.). Cambridge, London: The MIT Press, 1996.
[27] XENAKIS, Janis. Wahrscheinlichkeitstheorie und Music. Gravesaner Blätter, 1956, č.6, s. 28–34.
[28] XENAKIS, Yannis. In Search of Stochastic Music. Gravesaner Blätter, 1958, č. 11/12, s. 112–122.
[29] XENAKIS, Iannis. Elements of Stochastic Music. Gravesaner Blätter, 1960, č. 18, s. 84–105.
[30] XENAKIS, Iannis. Elements of Stochastic Music. Gravesaner Blätter, 1960, č. 19/20, s. 140–150.
[31] XENAKIS, Iannis. Elements of Stochastic Music III. Gravesaner Blätter, 1961, č. 21, s. 113–124.
[32] XENAKIS, Iannis. Elements of Stochastic Music IV. Gravesaner Blätter, 1961, č. 22, s. 144–155.
[33] XENAKIS, Iannis. Elements of Stochastic Music. Gravesaner Blätter, 1962, č. 23/24, s. 169–184.
[34] XENAKIS, Iannis. Musiques formelles-nouveaux principes formels de composition musicale. Paříž: La revue musicale, 1963.
[35] XENAKIS, Iannis. Free Stochastic Music from the Computer. Gravesaner Blätter, 1965, č. 26, s. 79–92.
[36] XENAKIS, Iannis – Rahn, John. Sieves. Perspectives of New Music, 1990, s. 58–78.
[37] XENAKIS, Iannis. Formalized Music – thought and mathematics in composition. Revised edition. Stuyvesant NY: Pendragon Press, 1992.
[38] XENAKIS, Yánnis. La crise de la musique sérielle. Gravesaner Blätter, 1955, č. 1, s. 2–4.