Pub Date : 2023-04-14DOI: 10.36253/music_tec-14418
Agostino Di Scipio
Unlike many composers of his generation, Iannis Xenakis personally devised and implemented the sound synthesis techniques used in some of his creative efforts. Eight of his works feature – in part or exclusively – sounds obtained with analogue or digital synthesis techniques, in a time span that goes from Analogique B (1959) to S.709 (1994). All of his electroacoustic music after La Légend d’Eer (1977) has sounds synthesized with computer technology. The sound synthesis procedures he devised, reflect peculiar operational and technological conditions, and indeed represent tokens of musical and sonological knowledge characteristic of a truly unique practice. In this paper we provide a survey of Xenakis’s efforts with sound synthesis, delineating their historical path through the experimenting of different technical contexts of material production and the corresponding theoretical and musical implications. Xenakis’ approach on sound synthesis is viewed as a domain of design of direct compositional relevance. Across subsequent steps in his carrier, Xenakis’s notion of ‘synthesis’ appears as a process or device generative of sound and music at once, in a single compact constructive gesture or strategy making it difficult to tell matter from form. Gradually, the musical work’s identity seemed to incorporate not just a specific linguistic-formal configuration, but the set of conditions of possibility elaborated by the composer – that is, eventually, the computer programming code (Gendy3, 1992). Iannis Xenakis’ commitment to crafting sound generation techniques – before using them to also craft music – witnesses at an attitude in which the appropriation of the material means of creative labour is an irreducible precondition for freedom of expression and musical aesthetics.
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Pub Date : 2023-04-14DOI: 10.36253/music_tec-14417
Giovanni De Poli
For the needs of music production and multimedia art, sound synthesis algorithms are needed which are versatile, responsive to user’s expectations, and having high audio quality. It is useful to organize our intuitive sound abstracts into models. A computational model can be used for representing and generating a whole class of sounds, depending on the internal structure of the model and on the choice of control parameters. We will review some of the most important computational models that are being used for sound synthesis in musical production from the viewpoint of the model structure. Moreover, the Centro di Sonologia Computazionale of Padova University has done research on synthesis models for a long time and the main achievements in both the scientific and musical fields will be presented.
对于音乐制作和多媒体艺术的需求，需要通用的、响应用户期望的、高质量的声音合成算法。将我们直观的声音抽象组织成模型是很有用的。根据模型的内部结构和控制参数的选择，计算模型可以用来表示和生成一整类声音。我们将从模型结构的角度回顾一些最重要的用于音乐制作中声音合成的计算模型。此外，帕多瓦大学的Centro di Sonologia Computazionale对合成模型进行了长期的研究，并将展示科学和音乐领域的主要成果。
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Pub Date : 2023-04-14DOI: 10.36253/music_tec-14419
Panayotis Kokoras
This article firstly explores and identifies the implications of sound performance and expression as a building block in electroacoustic sound composition. Secondly, it attempts to introduce and describe Fab Synthesis as a sound synthesis paradigm that facilitates uncompromised sound expressivity and encourages the combination of human and electromechanical agents to interact seemingly.
{"title":"Fab Synthesis: Performing sound, from Musique Concrète to Mechatronics","authors":"Panayotis Kokoras","doi":"10.36253/music_tec-14419","DOIUrl":"https://doi.org/10.36253/music_tec-14419","url":null,"abstract":"This article firstly explores and identifies the implications of sound performance and expression as a building block in electroacoustic sound composition. Secondly, it attempts to introduce and describe Fab Synthesis as a sound synthesis paradigm that facilitates uncompromised sound expressivity and encourages the combination of human and electromechanical agents to interact seemingly.","PeriodicalId":36551,"journal":{"name":"Musica Tecnologia","volume":"300 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77438650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.36253/music_tec-13300
A. Novello
This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.
{"title":"Media archaeology-based Visual Music","authors":"A. Novello","doi":"10.36253/music_tec-13300","DOIUrl":"https://doi.org/10.36253/music_tec-13300","url":null,"abstract":"This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.","PeriodicalId":36551,"journal":{"name":"Musica Tecnologia","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76712346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.36253/music_tec-13299
Stefano Alessandretti, Laura Zattra, Paolo Zavagna
{"title":"Questo numero– Inventare gli arnesi della propria espressione","authors":"Stefano Alessandretti, Laura Zattra, Paolo Zavagna","doi":"10.36253/music_tec-13299","DOIUrl":"https://doi.org/10.36253/music_tec-13299","url":null,"abstract":"","PeriodicalId":36551,"journal":{"name":"Musica Tecnologia","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82022222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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