Relevant bibliographies by topics / Aleatory music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Aleatory music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Aleatory music"

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Yori-Aki, Matsudaira, and Joaquim M. Benítez. "Matsudaira Yoritsune's path from neoclassical to aleatory music." Contemporary Music Review 17, no. 4 (1998): 5–13. http://dx.doi.org/10.1080/07494469800640241.

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Lee, Young-mi. "Instructional Strateges for Implementing Aleatory Music in School." Yonsei Music Research 6 (December 31, 1999): 157–82. http://dx.doi.org/10.16940/ymr.1999.6.157.

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Попов, Даниил. "Adaptive Music in Video Games." Музыкальная академия, no. 3(779) (September 26, 2022): 124–37. http://dx.doi.org/10.34690/257.

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Музыкальное оформление видеоигр сегодня можно оценивать как феномен, полностью обособленный в самостоятельный жанр. Адаптивная музыка - разновидность игрового саундтрека, ключевой особенностью которой является адаптация звукового сопровождения к тем или иным ситуациям, вызванным действиями игрока. Следует с осторожностью говорить о том, что глубокие теоретические исследования феномена адаптивного саундтрека в настоящий момент отсутствуют и существует проблема его недостаточной изученности в контексте музыкальной теории. Выбор темы обусловлен представлением о рядоположности адаптивной игровой м
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Koposova, Irina V. "“Freely-Pulsating Composition” of Leif Segerstam as an Individual Aleatory Project." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 16–22. http://dx.doi.org/10.17674/1997-0854.2018.1.016-022.

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Sokolvyak, Natalia L. "About the Aleatory Technique in the Performing Process in Sergei Slonimsky’s Antiphons." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 139–46. http://dx.doi.org/10.17674/1997-0854.2019.2.139-146.

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Titova, Anastasia V. "“Ach Golgatha!” by Karel Goeyvarts in the Aspect of Synthesis of Serialism, Aleatory Technique and Minimalism." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2021): 182–92. http://dx.doi.org/10.33779/2587-6341.2021.1.182-192.

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Okuneva, Ekaterina G. "The Particularities of Compositional Work in Ernst Krenek’s “Sechs Vermessene”: Interconnection between Serialism and Aleatory Technique." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 17–28. http://dx.doi.org/10.17674/1997-0854.2019.2.017-028.

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Barciński, Łukasz. "Trans(a)l(e)atory Studies or the Translator as a Performer: "Finnegans Wake" by James Joyce in Polish Translation." Między Oryginałem a Przekładem 24, no. 41 (2018): 29–47. http://dx.doi.org/10.12797/moap.24.2018.41.02.

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Following the interdisciplinary approach, the article presents the translator’s role from the point of view musical terminology, which becomes appropriated for the sake of translation studies. As a result, the study applies the musical term aleatory music denoting an indeterminate type of musical notation which allows considerable freedom in the interpretation of a musical score. From this perspective, the translator, confronted with the inevitable interpretative gaps and indeterminacies in the source text, is compared to a musical performer who interprets the indeterminate aleatory notation.
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Бобрина, М. С. "Vasil Kazandjiev’s “Youth Album” (1972)— a Pearl of Bulgarian National Culture." Научный вестник Московской консерватории, no. 2(41) (June 19, 2020): 114–25. http://dx.doi.org/10.26176/mosconsv.2020.41.2.005.

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Статья посвящена обзору фортепианного цикла «Детские пьесы» (1972) выдающегося современного болгарского композитора Васила Казанджиева. Определено положение цикла Казанджиева в ряду других сборников детских пьес в мировой классике XIX–XX веков. Рассмотрены особенности применения в музыке для детей авангардных техник и средств выразительности, среди которых— алеаторика, сонорика и сонорно окрашенная гармония, свободная двенадцатитоновость, политональные и полиладовые сочетания, применение нетактированных построений, нетрадиционные способы звукоизвлечения на фортепиано. Подчеркивается национальн
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Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.

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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making wi
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Dissertations / Theses on the topic "Aleatory music"

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Müller, Hermann-Christoph. "Zur Theorie und Praxis indeterminierter Musik Aufführungspraxis zwischen Experiment und Improvisation /." Kassel : G. Bosse, 1994. http://books.google.com/books?id=ZzxFAAAAMAAJ.

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Colaruotolo, John Cage John. "Revealing reveiling reveling." connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/colaruotolo%5Fjohn%5Fjoseph/index.htm.

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Handron, Jason Leger. "Diatomaceous Earth." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558288424122094.

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Kiefer, Chris. "Multiparametric interfaces for fine-grained control of digital music." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40839/.

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Digital technology provides a very powerful medium for musical creativity, and the way in which we interface and interact with computers has a huge bearing on our ability to realise our artistic aims. The standard input devices available for the control of digital music tools tend to afford a low quality of embodied control; they fail to realise our innate expressiveness and dexterity of motion. This thesis looks at ways of capturing more detailed and subtle motion for the control of computer music tools; it examines how this motion can be used to control music software, and evaluates musician
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Yee-King, Matthew John. "Automatic sound synthesizer programming : techniques and applications." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7612/.

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The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming. An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis: tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound. At its output it produces a configuration for the sound synthesis algorithm which causes it to
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Colaruotolo, John. "RevealingReveilingReveling." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4782/.

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This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation o
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Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.

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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application calle
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House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.<br>A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key tr
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Rosa, Lilia de Oliveira 1960. "Três peças aleatórias de L. C. Vinholes numa abordagem pedagógica para criança = análise, criação de atividades musicais e site." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284919.

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Orientador: Aci Taveira Meyer<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T21:14:33Z (GMT). No. of bitstreams: 1 Rosa_LiliadeOliveira_D.pdf: 4441858 bytes, checksum: 53564442162a3cc196ba783dfe47aadc (MD5) Previous issue date: 2011<br>Resumo: O objetivo principal desta pesquisa é estudar três peças aleatórias do compositor pelotense Luiz Carlos Lessa Vinholes - Instrução 61, para quatro instrumentos quaisquer (1961); Instrução 62, para instrumentos de teclado (1962); e Peça/Pessa para fazer Psiu/Xi, para bocas (1979) - e
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Books on the topic "Aleatory music"

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Lubet, Alex. 123454: For any number of instruments and/or voices. Distributed by American Gamelan Institute, 1990.

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Wolff, Christian. Prose collection. Distributed by Frog Peak Music, 1990.

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Oliveros, Pauline. The witness: For any number of performers : 1980. Smith Publications, 1998.

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Corner, Philip. Om-be at the beginning. Frog Peak Music, 2004.

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Mason, Benedict. Outside sight unseen and opened: Texts images to read perform and imagine about distance synchronisation movement and concert halls. 2nd ed. Pfau-Verlag, 2002.

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Pisaro, Michael. Everday: Variabel. Edition Wandelweiser, 1996.

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Corner, Philip. 7 meditation realities: Inspirations from the pure land. Frog Peak Music, 2004.

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Motte, Diether de la. Musik bewegt sich im Raum: 16 Konzepte für Laien-Professionals aus Musik, Sprache, Sprachmusik und Bewegung, 1985/86. Moeck, 1987.

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Monosov, Ilya. Music for everyone: [works. Frog Peak Music?], 2002.

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Poirier, Réjean. Arcane : pour orgue. Oeuvres Ouvertes, 1986.

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Book chapters on the topic "Aleatory music"

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Roig-Francolí, Miguel A. "Aleatory Music." In Understanding Post-Tonal Music, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429340123-12.

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"ALEATORY MUSIC." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-8.

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"2 Beginnings in Cologne: Serialism, Aleatory Technique and Electronics." In The Music of Mauricio Kagel. Routledge, 2017. http://dx.doi.org/10.4324/9781315085838-3.

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Iverson, Jennifer. "Controversy." In Electronic Inspirations. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0006.

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In the late 1950s, several European and American composers engaged in the aleatory debates, which ask how chance elements can be incorporated into music. The controversy was most famously visible at the Darmstadt Summer Courses in 1958, where Cage antagonized Boulez, Stockhausen, and other European composers. This chapter reassesses the who, where, and how of the debates. A series of analyses demonstrate that European composers hardly rejected chance interventions in their electronic and acoustic works. Whereas Cage, Tudor, Brown, and other American experimentalists hewed toward performer-centered indeterminacy, European avant-gardists such as Pousseur, Ligeti, Boulez, and Stockhausen experimented with open and mobile forms and statistical interpolations. In fact, composers debated together how to incorporate chance from a range of inspirations, including literature, linguistic theory, and phonetics. Aleatory experimentation on both sides of the Atlantic was highly conditioned by questions of human and machinic agency, as composers grappled with prodigious performers like Tudor, as well as with the technological limits of the studio machines and the materiality of magnetic tape. Electronic studios in both the United States and Europe were rich sites in which composers negotiated the terms of the aleatory debates.
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Elliott, Andrew C. A. "Mixing it Up." In What are the Chances of That? Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869023.003.0011.

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Mozart’s musical dice game is one example of how musicians and other artists have incorporated aleatoric elements into their work. Jazz improvisation means every performance is different. Cage left space for the environment to make its own music, but Xenakis took a mathematician’s understanding of randomness and created avant-garde compositions that use the orchestra in new ways. Generative techniques use random numbers to provide new music and other kinds of art on demand. Blocked creativity can be freed by deliberate injections of spontaneity.
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Nonken, Marilyn. "The Spectral Attitude and Its Relation to Performance." In The Oxford Handbook of Spectral Music. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.60.

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Abstract The spectral attitude toward composition that emerged in France in the 1970s and 1980s was intimately related to the creative processes of performers, their practices, and their perceptions. The composers associated with L’Itinéraire in its early years—Tristan Murail, Gérard Grisey, Michaël Lévinas, Hugues Dufourt, and Roger Tessier—were performing musicians themselves, and their experiences contributed to their pre-occupation with timbre, temporality, process, and perception. Expressing an ecological perspective, they saw the performer as an integral part of the sensory environment, and of the ensemble energies and forces effecting the animation of acoustic phenomena. The “pure becoming of sound” could only be conveyed through the pure becoming of a performance, requiring a highly disciplined performer dedicated to processes of synthesis and transformation. Locating the performance practice of spectral music historically leads to a consideration of virtuosity and physicality in relation to Romantic, aleatoric, and New Complexity repertoire, and also to the work of post-spectralists Jonathan Harvey and Georg-Friedrich Haas.
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Shrock, Dennis. "The Modern Era." In Choral Repertoire, 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0006.

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Abstract The Modern era began during the early years of the twentieth century when composers felt that the genres, tonalities, scorings, and notational symbols of the Romantic era could no longer satisfy their creative needs. Traditional genres were too confining for new ideas of expression, harmonic language based on functional tonality seemed to be exhausted, additional and unique colors were needed in scoring, and innovative elements of notation were required to manifest revolutionary concepts of communication. Consequently, dramatic changes affected virtually every element of music making. New genres ranged from stage productions that incorporated dance (e.g., Claude Debussy’s Le martyre de saint Sébastien) to vocal chamber music scored for a large ensemble of highly skilled soloists (e.g., Olivier Messiaen’s Cinq rechants for twelve singers). Experiments in new tonalities resulted in the dodecaphonic (twelve-tone) technique, pandiatonicism, bitonality, atonality, and divisions of the traditional chromatic scale into smaller units than half steps. Scorings for uncommon colors included wordless chorus as an orchestral instrument, sprechstimme, numerous percussion instruments, and electronic sounds and instruments. New notation consisted of a wide range of symbols to indicate such performance elements as variations in vibrato, speaking, singing in falsetto, producing the highest or lowest notes possible, yelling, hissing, and whispering. In addition, aleatoric performance became a feature of a number of Modern-era compositions. This is especially evident in passages of indeterminate rhythm within traditionally metered music.
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Conference papers on the topic "Aleatory music"

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Sápi, Edit. "Aleatoric Nature of Dramatic Works." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.103.

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