computer music
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The role of John Chowning in the contruction of Ircam (1973-1977)
During the 1970s, John Chowning founded CCRMA at Stanford University and was also involved in the planning of IRCAM, the computer music center directed by Pierre Boulez. In studying different archives and conducting interviews, as part of the RAMHO project, we have reconstructed this important years between 1972 and 1977 and highlighted the links that…
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L’Ircam et les 50 ans du Centre Pompidou
The Centre Pompidou celebrates 50 years. Next Tuesday, at the Center Pompidou in Paris, I will give a talk about the history of IRCAM (founded by Pierre Boulez to associate the Center for art and culture with a Center for musical creation) in the context of the seminars organized by the History Commission of the…
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My keynote speech at the XXIII CIM Colloquio di Informatica Musicale
Last Thursday (October 27) I gave a keynote speech at the XXIII CIM Colloquio di Informatica Musicale in Ancona: “The Computer Instrument: mixed methods to study past, present and future between archives, lost sources and oral history”. I was also able to admire the instruments on display from the Museo del Synth Marchigiano and from…
archives, collaboration, Collaborative Art, Composers & Artists, computer music, Interviews, John Chowning, Live-Electronic Music, Luigi Nono, musicaelettronica.it, Musical Assistant, Oral History, philology of music, sources for the study of electronic music, Technology and Society, Tracking the Creative Process in Music -
Computer Sounds in Luigi Nono’s Prometeo
As part of my research on collaborative creativity, on the music-technology relationship, and on the role of computer music designers / musical assistants, I studied the genesis of the computer sounds used in Luigi Nono’s Prometeo, generated with Giuseppe (Peppino) di Giugno’s 4i workstation.My paper “The Use of Technology in Revolutionary Perspective. Computer Music Research…
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Fluxus (1979) by Teresa Rampazzi at the final concert of the Darmstadt Summer Course
Alongside the new version of the mesmerizing piece Dust III (2018-21) by Rebecca Saunders, this evening the quadraphonic work Fluxus by Teresa Rampazzi will be performed during the final concert of the 50th Darmstadt Summer Course. After 70 years, Rampazzi is back at the Ferienkurse (she attended the course also in 1954, 1956, and until…
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A JOURNEY AMONG ELECTRONIC MUSIC SOURCES #4 – #5
My last two articles for the column A JOURNEY AMONG ELECTRONIC MUSIC SOURCES focusses on a couple of amazing material sources (the Music 5 software in Padova and Pierre Schaeffer’s dedication to the N.P.S. Group) (#4) and the importance of oral history in the study of electroacoustic music (#5). Musica, tecnologia e società attraverso le…
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A JOURNEY AMONG ELECTRONIC MUSIC SOURCES #2 | MUSIC PATENTS AND ONLINE RESEARCH
I am writing a column for the blog http://www.musicaelettronica.it/ about the less known or forgotten sources in electronic music. I have used private and institutionals archives, physical or digital, in my musicological practice for 20 years and this investigation never fails to amaze me. The second article is dedicated to patents and online research of patents…
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Symmetrical Collaborations. Jonathan Harvey and his computer music designers
My chapter “Symmetrical Collaborations. Jonathan Harvey and his computer music designers”, just published in «Nuove Musiche», Vol. 4 (2018), Special issue on Jonathan Harvey, edited by Candida Felici and Stefano Lombardi Vallauri, Pisa : Pisa University Press, pp. 29-57, DOI: 10.12871/97888333922572. ABSTRACT: The work of Jonathan Harvey (1939-2012) has been influenced by computer technology since…
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A journey among electronic music sources #1 | The first Italian books
I have used private and institutionals archives, physical or digital, in my musicological practice for 20 years. I am writing a little about this and the sources I can find when I dip into this faboulous world in my column “Viaggio tra le fonti elettroniche” for the amazing blog http://www.musicaelettronica.it/. The first post is dedicated to…
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Call for submissions: ORGANISED SOUND Vol. 25, N. 2
ORGANISED SOUND, Call for Submissions – Volume 25, Number 2 Issue thematic title: Time in Electroacoustic Music Deadline for submission: 15 September 2019 Topics for investigation could include: • critical schema of time representations which have been previously articulated by composers/analysts (e.g. Stockhausen, Xenakis); • comparison of analytical approaches in their treatment of subjective temporal…