Bibliografías temáticas / Electronic and cello music

Literatura académica sobre el tema "Electronic and cello music"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Electronic and cello music"

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Cleman, Thomas, Robert Basart y Yehuda Yannay. "Kansas City Dump; For Clarinet, Piano, Violin, Cello, and Electronic Tape". Notes 44, n.º 2 (diciembre de 1987): 367. http://dx.doi.org/10.2307/941598.

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Straebel, Volker. "Technological implications of Phill Niblock's drone music, derived from analytical observations of selected works for cello and string quartet on tape". Organised Sound 13, n.º 3 (3 de noviembre de 2008): 225–35. http://dx.doi.org/10.1017/s1355771808000320.

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AbstractFour compositions for cello and string quartet on tape by American intermedia artist Phill Niblock originating from 1974 to 2003 are discussed. The interdependence of compositional approach and available technology is considered, leading to the observation that the electronic music composer's technique is considerably independent of the available technology. Where a dependence of artistic development on factors not originally musical has to be acknowledged, these nonmusical factors lie not so much in the technology but in Niblock's interpretation of it. This is discussed within the context of philosophical observations on art and technology by Theodor W. Adorno, Martin Heidegger and Ernst Cassirer.
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LIVINGSTON, HUGH. "Paradigms for the new string instrument: digital and materials technology". Organised Sound 5, n.º 3 (diciembre de 2000): 135–47. http://dx.doi.org/10.1017/s1355771800005045.

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The applications of technology in instrument design contribute to the resulting sound on many levels, particularly in the context of new evolutions representing the traditional instruments of our culture. Materials technology is seldom given consideration in the description of Western string instruments, but our choices of woods, metals and synthetics can dramatically alter the sound without altering the substance of instrumental performance. In the design of modified string instruments which mimic features of natural acoustic predecessors, new technology is applied on many levels. A taxonomy is proposed for the past, present and future of instrument design. Due consideration is given to the music which results from the new sound world, especially that involving interactive electronic processing. The advantages and disadvantages of directions in instrument design for the future are evaluated within the proposed schema. Some extended techniques on the cello are proposed to be further extended with electronics, and audio examples and descriptions are provided. A model for future collaborations between composer, performer and engineer is proposed.
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Berehova, Olena y Mariia Kara. "Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti". Музикознавча думка Дніпропетровщини, n.º 18 (16 de noviembre de 2020): 167–78. http://dx.doi.org/10.33287/222027.

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The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonational drama of the work, to reveal the individual features of the author’s interpretation by the composer of the sonata genre for solo cello. The scientific novelty. The sonata of Gyorgy Ligeti, namely, the consideration of the features of the individual interpretation of the instrumental sonata genre, has not yet become the object of domestic musicological research, so addressing this topic is relevant and has a novelty factor. Conclusion. Throughout the long career of Gyorgi Ligeti, his composer style experienced a significant evolution from experiments in the field of electronic music and micropolyphony to a gradual return to classical romantic traditions. It was facilitated by the composer’s focus on the constant search for a new musical language and ways to express it. In the Sonata for cello solo, D. Ligeti pays great attention to the timbre features and technical characteristics of the instrument, seeks to diversify its sound by introducing modern techniques and means of sound extraction. A detailed examination of the artistic and technical techniques used by the composer along with analysis of performing difficulties will facilitate the work of artists on this work and its popularization in contemporary concert and performing practice.
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Tsaregradskaya, Tatiana V. "The Music of Fausto Romitelli: Concerning the Question of “Musical Material”". Problemy muzykal'noi nauki / Music Scholarship, n.º 1 (2024): 81–90. http://dx.doi.org/10.56620/2782-3598.2024.1.081-090.

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The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material was upheld and further developed by Italian composer Luigi Nono, who fundamentally changed the sphere of perception of this phenomenon, which subsequently was testified by his German student Helmut Lachenmann. This required not only new combinations of sound, but a reevaluation of the attitude of working with them. Fausto Romitelli (1963–2004) pertains to the generation of composers that discovered new paths for work with sound. In his musical output sound becomes a complex multicomponent phenomenon presuming an interaction between acoustic instruments, electronic sounds and reverberation — the sound “aura” and the sound “halo,” both of which are also composed consciously (presenting “composed resonance”). Romitelli’s individuality demonstrates itself in the fact that he builds this component of his musical material, basing himself on sonar discoveries in the sphere of rock music, in particular, the Pink Floyd ensemble, which finds reflection in such of his works as EnTrance, Professor Bad Trip, etc. Romitelli characterized the “aura” of his sound as “dirty,” comprehending this as a specific resonance of the sound of the electric guitar in rock music. Romitelli’s “composed resonance” is not characteristic solely of him; “composed resonance” as an element of musical material may be discerned in the works of other composers, in particular, Kaija Saariaho in her Amers for solo cello and ensemble.
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Gorodecki, Michael, Jonathan Harvey, Frances-Marie Uitti, John Casken, Heinrich Schiff, Andrzej Panufnik, Mstislav Rostropovich et al. "Cello Concerto; Works for Cello". Musical Times 134, n.º 1805 (julio de 1993): 408. http://dx.doi.org/10.2307/1003108.

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Anderson, Robert. "Cello". Musical Times 128, n.º 1733 (julio de 1987): 391. http://dx.doi.org/10.2307/964540.

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Anderson, Robert. "Cello". Musical Times 128, n.º 1734 (agosto de 1987): 442. http://dx.doi.org/10.2307/965018.

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Anderson, Robert. "Cello". Musical Times 126, n.º 1714 (diciembre de 1985): 736. http://dx.doi.org/10.2307/965208.

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ANDERSON, ROBERT. "Cello". Musical Times 127, n.º 1715 (enero de 1986): 36. http://dx.doi.org/10.2307/965360.

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Tesis sobre el tema "Electronic and cello music"

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Bielmeier, Douglass Christopher. "The Thief of Always". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1136924509.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
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Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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Bukvic, Ivica Ico. "Tabula Rasa". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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Gagnon, Marie-Elaine. "Graduate cello recital". FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3434.

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Clark, James. "Peter sculthorpe| Music for unaccompanied cello". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590072.

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As a contemporary Australian composer, concerned with finding an "Australian sound," Peter Sculthorpe incorporated elements of Aboriginal music, Asian music, and other unique compositional devices in his music. This paper investigates Sculthorpe's compositional style through analysis of Requiem: for Cello Alone, Threnody, Into the Dreaming, For Justine, and Sonata for Cello Alone, in order to explore his incorporation of Australian characteristics within the context of idiomatic writing for the solo cello.

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YANG, HEEYOUNG. "GAME FOR FOUR CELLO". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151383279.

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Nichols, Richard A. "Trio for horn, cello and piano /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889382746.

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Chen, Ru-Ping. "The Cello works of Hsiao Tyzen /". The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763848087.

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Thumpston, Rebecca Mary. "Agency in twentieth-century British cello music". Thesis, Keele University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.699672.

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Music's narrative qualities have received extended analytical scrutiny in recent years. Less attention has been focused on the characters that inhabit those narratives - the agents or personae within the stories music tells. This thesis synthesises and extends existing literature on musical agency in order to forge a new, analytically productive approach to the critical analysis of instances of agency in twentieth-century British cello music. Through analysis of Edward Elgar's Cello Concerto (1919), Benjamin Britten's Symphony for Cello and Orchestra (1963), John Tavener's The Protecting Veil (1987), Jonathan Harvey's Advaya (1994), Richard Ayres's No, 30 (NONcerto for Orchestra, Cello and High Soprano) (2001, rev. 2003), and Harrison Birtwistle's Tragoedia (1965), this thesis proposes a framework for sustained analysis of musical agency. Theorising the manner in which listeners construct virtual subjectivities in musical works, this thesis proposes a new approach to musical agency in which the subjective and embodied agential responses of listeners are privileged. Focus is directed towards exploring the manner in which musical representations of voice, gesture and volition engage the embodied agency of listeners through mandatory, virtually-mandatory and elective means. It is argued that listeners' subjective and embodied agential responses enable the attribution of virtual agents to musical works. These virtual agents can then partake in agential narratives for suitably inclined listeners. The thesis thereby hypothesises the existence of intra-agency: a conceptual space that blends the various agencies - composer, performer, persona, listener and context - at play in a musical work.
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Libros sobre el tema "Electronic and cello music"

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Kreiger, Arthur. Meeting places: Flute (alto flute), clarinet (bass clarinet), piano, percussion, violin, violoncello, and tape. New York: C.F. Peters, 1996.

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Wykes, Robert. For cello. Berkeley, CA: Fallen Leaf Press, 1989.

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Music, Royal Conservatory of, ed. Cello syllabus. Oakville, Ont: F. Harris Music, 1995.

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Siblin, Eric. The cello suites. Crows Nest, N.S.W: Allen & Unwin, 2009.

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Siblin, Eric. The cello suites. Crows Nest, N.S.W: Allen & Unwin, 2009.

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Shchedrin, Rodion Konstantinovich. Music for cello and piano. Wyastone Leys, Monmouth, UK: Nimbus Records, 2008.

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Rorem, Ned. Dances, cello and piano. [U.S.A.]: Boosey & Hawkes, 1988.

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Lazarof, Henri. Momenti: For solo cello. Bryn Mawr, Pa: Merion Music, 1988.

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Carter, Elliott. Figment: For cello alone. [New York]: Hendon Music, 1995.

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Roberts, Adam Matthew. Gesture, energy, and play: Works, 2005-2010. 2010.

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Capítulos de libros sobre el tema "Electronic and cello music"

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Colwell, Richard J., Michael P. Hewitt y Mark Fonder. "The Cello". En The Teaching of Instrumental Music, 421–30. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-30.

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Hartmann, William M. "Electronic Music". En Principles of Musical Acoustics, 279–86. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_27.

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McIntyre, Joanne. "Music Therapy". En Longer-Term Psychiatric Inpatient Care for Adolescents, 107–14. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1950-3_12.

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AbstractThe Walker Unit is one of only a few adolescent inpatient units in Australia to include a Registered Music Therapist on the Allied Health team. The Walker Unit has a music room equipped with guitars, ukuleles, a keyboard, a drum kit, African drums, a cello and a violin. Music therapy sessions are conducted with individuals, patient groups and families. Empirical evidence supporting the benefits of Music Therapy in this setting is limited, however we have observed that creating music in a containing environment enhances self-awareness, stimulates verbalization and facilitates relaxation.
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Kaul, Timor. "Electronic Body Music". En Handbuch Popkultur, 102–6. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05601-6_18.

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Battier, Marc. "Analyzing Electronic Music". En Teaching Electronic Music, 58–74. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-5.

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Ross, Sara. "Overlooking the Scene: Electronic Music and Toronto’s Music City Project (1999–2019)". En Electronic Cities, 79–94. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4741-0_6.

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Sallis, Friedemann, Valentina Bertolani, Jan Burle y Laura Zattra. "Introduction". En Live Electronic Music, 1–13. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-1.

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Benedictis, Angela Ida De. "Authorship and performance tradition in the age of technology". En Live Electronic Music, 195–216. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-10.

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Scaldaferri, Nicola. "(Absent) authors, texts and technologies". En Live Electronic Music, 217–29. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-11.

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Biró, Dániel Péter y George Tzanetakis. "Computer-supported analysis of religious chant". En Live Electronic Music, 230–52. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-12.

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Actas de conferencias sobre el tema "Electronic and cello music"

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Scheiblauer, Anna, Alexander Mayer y Montserrat Pàmies-Vilà. "Investigating the cello position, bow motion and cellist posture using motion capture". En Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001677.

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Ruchkina, Natalia. "qNaturalq Music of Ivan G. Sokolov: Sonata for Cello and Piano". En 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.101.

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Schimbinschi, Florin, Christian Walder, Sarah M. Erfani y James Bailey. "SynthNet: Learning to Synthesize Music End-to-End". En Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/467.

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We consider the problem of learning a mapping directly from annotated music to waveforms, bypassing traditional single note synthesis. We propose a specific architecture based on WaveNet, a convolutional autoregressive generative model designed for text to speech. We investigate the representations learned by these models on music and concludethat mappings between musical notes and the instrument timbre can be learned directly from the raw audio coupled with the musical score, in binary piano roll format.Our model requires minimal training data (9 minutes), is substantially better in quality and converges 6 times faster in comparison to strong baselines in the form of powerful text to speech models.The quality of the generated waveforms (generation accuracy) is sufficiently high,that they are almost identical to the ground truth.Our evaluations are based on both the RMSE of the Constant-Q transform, and mean opinion scores from human subjects.We validate our work using 7 distinct synthetic instrument timbres, real cello music and also provide visualizations and links to all generated audio.
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Li, Dejun y Tian Xia. "Electronic music clothing". En International conference on Management Innovation and Information Technology. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/miit130121.

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Irons, Jonathan y Martin Schmucker. "Fingerprinting of music scores". En Electronic Imaging 2004, editado por Edward J. Delp III y Ping W. Wong. SPIE, 2004. http://dx.doi.org/10.1117/12.526758.

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Guoping You y Wanghui Zeng. "Electronic music box design". En 2016 2nd IEEE International Conference on Computer and Communications (ICCC). IEEE, 2016. http://dx.doi.org/10.1109/compcomm.2016.7924848.

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Hayes, Lauren. "Live Electronic Music Performance". En MOCO '18: 5th International Conference on Movement and Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3212721.3212891.

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Trickett, Terry. "Visual Music". En Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.53.

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Raphael, Christopher y Rong Jin. "Optical music recognition on the International Music Score Library Project". En IS&T/SPIE Electronic Imaging, editado por Bertrand Coüasnon y Eric K. Ringger. SPIE, 2013. http://dx.doi.org/10.1117/12.2040247.

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Smith, Wilson. "Music lessons". En ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.313026.

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Informes sobre el tema "Electronic and cello music"

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Hickey, James. The Electronic Hardware Music Subculture in Portland, Oregon. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.7470.

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Sun, Chenbing, Zhe Wang y Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia：A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, diciembre de 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.

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Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn y Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], julio de 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, febrero de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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