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A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future(...)
Formalized music: Thought and mathematics in music
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A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a critical self-examination of his theoretical propositions and artistic output of the past thirty-five years.
Acoustique
Performing Xenakis
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This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only(...)
Performing Xenakis
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This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on tricks of the trade for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis pioneering electronic works.
Acoustique
Kéleütha
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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine(...)
Kéleütha
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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine de perception et d'intelligence. De plus, l'homme aimera toujours chanter puisqu'il a une voix, et toujours danser puisqu'il a un corps en liberté. L'expansion prodigieuse du jazz, avec ses rythmes de danse puissants et ses mélodies brutales, qui contrastaient avec la somnolence des musiques légères ou folkloriques, en est une démonstration. Un courant constant entre la nature biologique de l'homme et les constructions de l'intelligence doit être établi, sinon les prolongements abstraits de la musique actuelle risquent de s'égarer dans un désert de stérilité.
Acoustique
Xenakis
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Since it was first published in 1981, Nouritza Matossian's perceptive book on Xenakis has helped students, musicians and audiences appreciate his music. She shares his Greek culture and interest in philosophy, and has chronicled vital discoveries in his work. A reserved man, he spoke frankly to her about his mysterious methods of composition, and his relationships with(...)
Xenakis
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Since it was first published in 1981, Nouritza Matossian's perceptive book on Xenakis has helped students, musicians and audiences appreciate his music. She shares his Greek culture and interest in philosophy, and has chronicled vital discoveries in his work. A reserved man, he spoke frankly to her about his mysterious methods of composition, and his relationships with Varese, Messiaen, Le Corbusier and Boulez.
Acoustique
Christian Marclay: festival
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Christian Marclay explores the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography, and video. Published in a 3-volume magazine format, this exhibition catalogue aims to capture the spontaneity of his process-oriented practice. Although the structure of the(...)
décembre 2010
Christian Marclay: festival
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Christian Marclay explores the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography, and video. Published in a 3-volume magazine format, this exhibition catalogue aims to capture the spontaneity of his process-oriented practice. Although the structure of the magazines is intentionally loose, there are some themes that each issue addresses: the first issue, titled 'Prelude', historically contextualizes Marclay's work; the second, 'Interlude', addresses his early work and discusses the performances taking place at the Whitney; and the third, 'Reprise', looks at his later work and video scores. As a whole, "Christian Marclay: Festival" is a thoughtful and creatively packaged document that captures how this artist's compelling practice has evolved over time and continues to expand and develop.
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Hearing has traditionally been regarded as the second sense—as somehow less rational and less modern than the first sense, sight. This publication explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality.
Reason and resonance: a history of modern aurality
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Hearing has traditionally been regarded as the second sense—as somehow less rational and less modern than the first sense, sight. This publication explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality.
Acoustique
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This publication brings together texts on the various art forms that have combined sound and image. The full spectrum of audiovisual art and phenomena is addressed in 35 dictionary entries, and in-depth essays treat overarching aesthetic issues, while individual works--including projects by John Cage and Chicks on Speed--are represented in audiovisual documentation and(...)
Audiovisuology compendium: see this sound
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This publication brings together texts on the various art forms that have combined sound and image. The full spectrum of audiovisual art and phenomena is addressed in 35 dictionary entries, and in-depth essays treat overarching aesthetic issues, while individual works--including projects by John Cage and Chicks on Speed--are represented in audiovisual documentation and scientific comment. The list of definitions and terms elucidated by various prominent authors includes gesamtkunstwerk, music theatre, animation film, light shows, music videos, sound art, expanded cinema, text-image analogies, synchronization, electronic transformation and software.
Acoustique
livres
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Essays on the Intersection of Music and Architecture is a collection of nine texts written by international scholars. Most of the essays were originally presented at the interdisciplinary conference Architecture | Music | Acoustics that took place in Toronto, Canada, in June 2006 at Ryerson University. The texts range from historiographical and theoretical explorations of(...)
Resonance: Essays on the intersection of music and architecture
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Essays on the Intersection of Music and Architecture is a collection of nine texts written by international scholars. Most of the essays were originally presented at the interdisciplinary conference Architecture | Music | Acoustics that took place in Toronto, Canada, in June 2006 at Ryerson University. The texts range from historiographical and theoretical explorations of the relations between music and architecture via translations of architectural spaces into music to analytical case studies of architectural spaces for musical performance.
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avril 2007
Acoustique
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Is writing about sound like dancing about architecture? Not when it's done by New Zealand's Bruce Russell, who works in sound under his own name and as a member of The Dead C. A past member of A Handful of Dust, Russell is also known for curating the internationally noted record labels XPRESSWAY and Corpus Hermeticum. This collection of essays written over the last 16(...)
Bruce Russell: Left-handed blows: Writing on sound 1993-2009
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Is writing about sound like dancing about architecture? Not when it's done by New Zealand's Bruce Russell, who works in sound under his own name and as a member of The Dead C. A past member of A Handful of Dust, Russell is also known for curating the internationally noted record labels XPRESSWAY and Corpus Hermeticum. This collection of essays written over the last 16 years reflects on sound, its role in culture, and Russell's thoughts toward a technique of incognito. Includes online essays, dialogs, liner notes, catalog contributions and most of the previously published contents of Logopandocy: the journal of vain erudition.
Acoustique
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L’acoustique architecturale cherche à favoriser l’écoute ou à protéger du bruit. Dans les deux cas, il est nécessaire de comprendre comment le son se propage dans l’espace afin d’en identifier le cheminement et la réception. Cette publication initie à cette problématique et explique les grandes règles de l’isolation et les techniques de base mais aussi les dernières(...)
Comprendre simplement l'acoustique des bâtiments, 3e édition
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L’acoustique architecturale cherche à favoriser l’écoute ou à protéger du bruit. Dans les deux cas, il est nécessaire de comprendre comment le son se propage dans l’espace afin d’en identifier le cheminement et la réception. Cette publication initie à cette problématique et explique les grandes règles de l’isolation et les techniques de base mais aussi les dernières avancées les plus innovantes, conformes aux exigences réglementaires.
Acoustique