Article
| 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 |
| Author: | |
| Source document: | Musicologica Brunensia. 2020, vol. 55, iss. 1, pp. 117-138 |
| Extent: | 117-138 |
| ISSN: | 1212-0391 (print); 2336-436X (online) |
| DOI: | 10.5817/MB2020-1-8 |
| Type: | Article (Czech) |
| Stable URL: | http://hdl.handle.net/11222.digilib/142893 |
| License: | CC BY-SA 4.0 International |
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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 The Esquisse insrument is analysed with the aid of an as yet unpublished manual provided by IRCAM, where it was used as an internal document.
Keywords:
Xenakis; spectral music; computer assisted composition; stochastic music program
References:
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