Добірка наукової літератури з теми "Texture orchestrale"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Texture orchestrale".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Texture orchestrale"
1
Bosseur, Jean-Yves. "Texture et matériau dans la pensée musicale contemporaine." Muzikologija, no. 3 (2003): 129–39. http://dx.doi.org/10.2298/muz0303129b.
Повний текст джерелаАнотація:
(francuski) Le mot texture d?signe, selon la d?finition du dictionnaire Robert, la disposition des fils d'une chose tiss?e, s'appliquant tout naturellement aux principles du tissage et, par extension, peut concerner l'arrangement d' ?l?ments sonores. Dans le vocabulaire musical, le terme "texture" est peu fr?quent et le plus souvent ignor? par les dictionnaires sp?cialis?s; cette notion occupe pourtant une place d?terminante dans la r?flexion d'un grand nombre de compositeurs depuis les ann?es cinquante. Permettant d'envisager notamment sous un angle nouveau les questions du timbre et la conception de l'?criture orchestrale, elle sera envisag?e successivement dans des ?uvres de Ligeti, Lutoslawski, Brown, Carter, Feldman et ? travers la d?marche ?lectro-acoustique.
2
Rakochi, Vadym. "Innovations of Presentation in Antonio Vivaldi’s Concertos and Their Impact on the Development of the Orchestra." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251790.
Повний текст джерелаАнотація:
Transformation of the presentation in Vivaldi’s instrumental concertos is considered in this paper. It is noted that the Corellian model of the concerto (concerto grosso, changeable number of movements, variety of tempos, thematic unity of tutti and solo episodes, trio-sonata-like instrumentation of the concertino) becomes the basis for Vivaldi’s modifications. His model is based on a solo concerto prevalation, a fast — slow — fast three-movements structure, ritornello musical form in the outer movements and the motivic mosaic of the first tutti. The significance of these transformations gives grounds to define them as a paradigmatic shift in the evolution of the genre. It is emphasized that these changes would be impossible without reviewing of the presentation in the orchestra. Innovations concern the ways of highlighting a soloist, the use of inexact (background-ornamental) doubling, activation of the internal orchestral soloists (especially in concertos for a wind instrument), increasing the significance of alternations, intensification of timbral, register, textural, dynamic, and thematic contrasts, changes in the orchestra’s composition (the double bass), and expansion of a palette of soloing instruments. It is pointed out that all these modifications had a strong impact on the development of the orchestra. First, the rise of wind instruments and reinforcement of expression in their parts resulted in the diversification of the orchestral sound: probably, we would not have heard the Mannheim Orchestra without Vivaldi’s concertos. Secondly, the dominance of the homophonic texture formed a proper basis for internal orchestral soloing and increased the relevance of a particular timbre color. Third, the standardization of a four-parts string section formed the basis for further changes of the orchestra. Fourth, the use of such orchestral techniques as the pedal (the future substitute for the basso continuo in the orchestra of Viennese classics), background-ornamental doublings, unison texture, etc. reflected in ways of musical material presentation in all orchestral genres. Everything convinces that the interdependence between the evolution of the instrumental concerto and the transformations of the orchestra is evident and strong.
3
Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (May 17, 2019): 181–200. http://dx.doi.org/10.7202/1059894ar.
Повний текст джерелаАнотація:
Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungarian Jewish woman at Auschwitz who haunts the work. The fleeting figure of this unknown woman is represented in the way that material is transfigured—lost, re-emerging, and lost again—throughout. This article focuses on Transfiguration as an apotheosis of Cherney’s interest in the relationship between orchestral texture and intertextuality.
4
Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (May 14, 2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.
Повний текст джерелаАнотація:
The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.
5
Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (January 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.
Повний текст джерелаАнотація:
There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.
6
Slakan, Tilen. "Analiza kompozicijskega stavka Alojza Srebotnjaka v orkestralni skladbi Slovenica / Analysis of Compositional Tehniques of Alojz Srebotnjak in the Orchestral Work Slovenica." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 59–90. http://dx.doi.org/10.26493/2712-3987.16(33)59-90.
Повний текст джерелаАнотація:
The following article presents a detailed analysis of compositional techniques in the orchestral work Slovenica for Brass, Percussion and Strings (1976) by Alojz Srebotnjak. It discusses the composer‘s intertwinment of folklore elements with the sonority of compositional processes in the 20th century. Throughout all three sentences Srebotnjak uses multiple linking compositional elements that he complexly intertwines on different levels of musical texture. The structure is also tightly connected to the concept of constructing different musical textures, melodical patterns, orchestral and dinamic constrasts, and harmonic systems.
7
Гордон, А. О. "Musical and Architectural Gesamtkunstwerk: on the Acoustic Determinism of the Orchestral Style of R. Wagner's Drama “Parsifal”." Журнал Общества теории музыки, no. 3(27) (October 8, 2019): 53–78. http://dx.doi.org/10.26176/otmroo.2019.27.3.004.
Повний текст джерелаАнотація:
В статье рассматривается оркестровый стиль драмы Р. Вагнера «Парсифаль» в целостной связи с акустикой Байройтского фестивального театра, даются характеристики архитектурно-звукового пространства вагнеровского Дома торжественных представлений, а также производится анализ оркестровой фактуры и тембровой драматургии «Парсифаля», на основе чего делается вывод об особом статусе феномена оркестра в композиторском мышлении Р. Вагнера. The article is focused on the orchestral style of R. Wagner's drama “Parsifal” in a holistic connection with the acoustics of the Bayreuth festival theatre, describes the characteristics of the architectural and sound space of Wagner's Festspielhaus, as well as represents the analysis of the orchestral texture and timbre dramaturgy of “Parsifal”, upon which the special status of the phenomenon of the orchestra in R. Wagner’s artistic thinking is defined.
8
Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.
Повний текст джерелаАнотація:
"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reordering of the initial idea from an “instrument Piano” to an “instrument Orchestra” (Ravel); (b) throughout development with essential changes firstly within piano means, than by orchestral means in the genre of Symphony (Lyatoshinsky). Keywords: creative re-thinking, self-interpretation, self-orchestration"
9
Malyi, Dmytro. "“Four words about kolomyika”: author’s experience of orchestration." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 157–81. http://dx.doi.org/10.34064/khnum2-34.07.
Повний текст джерелаАнотація:
Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Saëns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the article. The main idea of the piece is interpretation of the kolomyika genre as a keeper of the genetic code of the Ukrainian people, through different levels of texture and structure solutions. Objectives, methods, and novelty of the research. Numerous works are devoted to orchestration, among them the guides by Adler, Casella & Mortari, Belkin, Klebanov and others. Another field of research is works on the theory of orchestration by Savchenko, Rakochi, Korobetska, Borodavkin, Kashyrtsev, Bohatyriov. However, the study of the ways and methods of translating a violin texture into an orchestral one has not yet attracted enough attention of musicologists-scientists and practicing musicians, and it is extremely difficult to find works on the orchestration of a violin texture, therefore, the presented work has an innovative focus. The purpose of the publication is to reveal the specifics of the orchestration of the violin texture using the example of the cycle “Four words about kolomyika” through the analysis of the use of orchestral principles and techniques in it. It was required the involvement of such research methods: genre-stylistic to identify the features of the kolomyika genre; structural-functional for researching the functions of instruments in the orchestral texture, the orchestration techniques, the form of the work; comparative one for considering the original violin source and the derived orchestral version; historical to light the context of the writing of the work. Results and conclusion. As a result of the research of the original source and its symphonic, timbre reinterpreted version, the next statements has been revealed. 1. The structural compositional analysis of the texture and form of the original source is of great importance for the creation of an orchestration of both one’s own and someone else’s work – the identification of potential harmony, bass voice, accompaniment, determination of the boundaries of the form, the character and tempo, which helps to understand the way of building timbre drama in the orchestral version. 2. The melody often in a “collapsed” form contains certain orchestral textural and timbre solutions. So, in many sections of the symphonic cycle, textural layers hidden in the initial melodic line are revealed – orchestral pedal, figurations, bass line, counterpoint, et cet. 3. The type, nature of the melody and the form of the piece determine the choice of timbre and orchestration techniques. The cycle uses such techniques of orchestral writing as underlining, the transfer of textural lines from one instrument to another, an orchestral crescendo, timbre mixes, the overlaying of textural layers of different instrumental groups, which creates a sonorous effect. 4. Each instrument of the wooden and brass groups corresponds to a certain line of the texture, is not duplicated in unison according to the “a2” principle, except for a few bars of the bassoons in the first part. This allows us to interpret the orchestra as a large ensemble, which to some extent is due to the neo-folkloric style of the piece. 5. The main idea of the piece in the symphonic version is manifested through the timbre reinterpretation of the theme, the multi-layered texture, the significant role of the woodwinds in the melodic lines and percussion to emphasize the rhythmic pattern and mark the boundaries of the form, as well as through the coloristic effects. The named ways of the piece working create the orchestral style that is a valuable component of composer’s creative activity.
10
Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
Повний текст джерелаАнотація:
The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).
Дисертації з теми "Texture orchestrale"
1
Maccarini, Francesco. "Modeling orchestration for computer assisted analysis and human-AI co-creativity." Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILB047.
Повний текст джерелаАнотація:
L'orchestration est l'art de composer pour un ensemble d'instruments, impliquant le mélange et le contraste des timbres instrumentaux pour créer un son orchestral cohérent. Elle exige à la fois une planification artistique de haut niveau des idées musicales et un contrôle précis et minutieux des détails techniques. Chaque partie doit pouvoir être jouée sur l'instrument qui lui est propre et s'accorder avec le reste de l'ensemble.Cette thèse vise à formaliser et à élargir les connaissances sur l'orchestration en la décrivant sous l'angle des mathématiques et de l'informatique, tout en proposant des modèles et des outils pour l'analyse informatique de la musique orchestrale et l'orchestration co-créative homme-machine.L'un des points clés de cette thèse est le concept de *texture orchestrale*, qui fait référence aux rôles, fonctions et combinaisons des parties instrumentales au sein d'une composition. Nous présentons trois modèles abstraits d'orchestration, nous publions un corpus multimodal de partitions orchestrales annotées et nous proposons un cadre pour l'orchestration assistée par ordinateur, qui a été appliqué avec succès dans un projet d'orchestration co-créativeOrchestration is the art of composing for an ensemble of instruments, involving the blending and contrasting of instrumental timbres to create a cohesive orchestral sound. It requires both high-level artistic planning of musical ideas and precise, fine-grained control over technical details. Each part must be playable on its specific instrument and fit well with the rest of the ensemble.This thesis aims at formalizing and expanding the knowledge of orchestration by describing it through the lens of mathematics and computer science, while proposing models and tools for the computational analysis of orchestral music and human-machine co-creative orchestration.A key focus of this thesis is the concept of *orchestral texture*, which refers to the roles, functions, and combinations of the instrumental parts within a composition. We introduce three abstract models of orchestration, release a multi-modal corpus of annotated orchestral scores, and propose a framework for computer-assisted orchestration, which has been successfully applied in a co-creative orchestration project
2
Pedneault, D. Julie. "Fraue und seele : relations texte-musique dans les Altenberg lieder op. 4 de Berg." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19771.
Повний текст джерелаАнотація:
For his first work composed without Schoenberg's supervision, Berg chose to set five short poems by his friend and intellectual idol, the controversial poet Peter Altenberg. Carrying the title Filnf Orchesterlieder nach Ansichtskarten-Texten von Peter Altenberg (1912), the cycle is at once aphoristic (with respect to the songs' duration) and titanic (with respect to their orchestration and motivic density). But the title invites the question: what imagery might the composer have hoped to illustrate with these musical postcards? This thesis investigates text-music relations in Berg's opus 4 with the objective of showing that the music's structure, far from being semantically neutral, participates actively in the création of rich poetic imagery anchored in the socio-cultural context of turn-of-the-century Vienna. Previous studies focus on the work's cyclic motives its interval-cycle substructure. The present study focuses on text-music relations and voice leading - the contrapuntal and harmonie procedures which govern the music's surface and determine its deep structure. It is shown that the voice-leading structures of the individual lieder - in both local detail and at a more broadly conceptual level - give form, meaning, and nuance to the poetic image that emerges in each song, and help define the different facets—physical, emotional, and spiritual — of the protagonist that inhabits them.
3
Fielder, Jonathan. "Ex Nihilo." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1330976256.
Повний текст джерела
4
Polgár, Éva 1983. "Two Piano Editions of the Third and Fifth Movements of Bartók's Concerto for Orchestra: Their Textual Fidelity and Technical Accessibility." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862794/.
Повний текст джерелаАнотація:
In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.
5
Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.
Повний текст джерелаАнотація:
This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. CopyrightDissertation (MMus)--University of Pretoria, 2010.
Music
unrestricted
6
Lee, Gui Hwan. "The Roots of Texture as a Structural Agent in Luciano Berio’s Sincronie for String Quartet (1964), as Seen in His Early 1960s Orchestral Works, Nones, Tempi Concertati, Allez-hop, and Epifanie as well as Late 1960s Work, Sinfonia." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504801778724386.
Повний текст джерела
7
Diaz, Garcia Maria Mercedes. "The Shaping of Time in Kaija Saariaho's Émilie: a Performer's Perspective." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1579431479557928.
Повний текст джерела
8
Ricketts, Matthew Jonathan. "Texts—Textures—Intertexts: The Orchestral Worlds of Brian Cherney." Thesis, 2017. https://doi.org/10.7916/D84178CH.
Повний текст джерелаАнотація:
This essay traces the development of the orchestral music of Brian Cherney (b. 1942, Peterborough ON). While not a comprehensive overview of his entire catalogue of orchestral works, I show the emergence of Cherney’s characteristic approach to the medium through the framework of extra-musical poetic texts, a painterly approach to orchestral textures, and a penchant for spinning intricate networks of self-quotation and references to extant musics (intertexts). Beginning with early student works (Chapter One: Two Songs for Soprano and Orchestra, 1963; Violin Concerto, 1963) and emergent transitional works (Chapter Two: Seven Images, 1971; Adieux, 1980), my tripartite framework culminates in Chapter Three with Cherney’s orchestral masterpiece, Transfiguration (1990). Reference is made to the musico-philosophical work of Theodor Adorno, Daniel Albright and Carolyn Abbate et al., alongside a host of musicological and music-theoretical sources. Further informed by details drawn from Cherney’s autobiographical sketches and lengthy correspondences with the author, I investigate these works with a hermeneutics which seeks to both draw out and draw together Cherney’s expressive reticence, imaginative fecundity and finely-honed technical prowess.
9
Xu, LuLing, and 許璐翎. "PERFORMING PETRUSHKA ON THE SOLO PIANO: ASPECTS OF THE TEXTURE, LAYERING AND THE TRANSCRIPTION FROM ORCHESTRA." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/5t6495.
Повний текст джерелаАнотація:
碩士國立交通大學
音樂研究所
105
Igor Stravinsky (1882-1971) wrote three famous ballet works during the early period of his creation——The Firebird, Petrushka and The Rite of Spring. Later, Stravinsky adapted Petrushka on the solo piano version for Arthur Rubinstein (1887-1982). In Petrushka, whether in the active or inactive episodes in the ballet, or in the striking contrasts arranged and adapted in the solo piano version, the main goal was to seek a balance between the contrasts, which in this work achieved unity in all kinds of incompatible materials, thus becoming a highly challenging composition both technically and musically. Rubinstein as the only pianist that Stravinsky allowed to adapt this composition, made full use of the piano’s effect, resulting in a refreshing performance version that took some notable adaptation methods. This paper mainly discusses the texture and layering in Stravinsky’s Petrushka on the solo piano, while also putting down on paper Rubinstein’s adaptation as heard in his live recording. The author hopes through this research into different adapters’thinking, one could reach a deeper understanding of this composition, and hence a wider scope for the performance interpretation.
10
Andrew, Ian Gregory. "Singing a new story: a composer's exploration of textual synthesis through composition." Thesis, 2016. http://hdl.handle.net/2440/99571.
Повний текст джерелаАнотація:
This submission for the degree of PhD at the Elder Conservatorium of Music, University of Adelaide, is a portfolio of nineteen original compositions supported by an explanatory exegesis. These compositions are grouped into three major works: 1. Winds and Waters – a 53-minute song cycle for four singers and orchestra, comprising 13 individual songs, including solos, duets and a central quartet. 2. Nor the Storms That Pass – a 16-minute collection of five overlapping works for advanced a capella S.A.T.B vocal ensemble or choir. 3. Vespers – a 30-minute large-scale, non-liturgical setting of the Roman-Catholic Vespers mass for symphonic orchestra, chorus and vocal soloists. This project explores the compositional techniques involved in the development and realisation of original narrative-driven works by synthesising existing textual material from various unrelated sources, authors, historical eras and geographical locations into new and cohesive works with a perceptible storyline that was not necessarily present or implicit in any of the pre-existing works. This is achieved through an examination of the cognitive processes by which humans infer missing information from a partially-defined narrative, and the subsequent exploration and application of compositional techniques and treatments of synthesised texts which exploit this knowledge to most effectively guide a listener’s perceptions of textual cohesion. The works in the portfolio serve as a practical example of the application of the techniques being explored. The exegesis aims to provide technical analysis and insight into the applied creative process. The complete project serves as an educational resource for composers, writers, academics and professionals who have an interest in creating new works from existing materials or in understanding some of the compositional techniques which may be used to progress a narrative, and includes over 100 minutes of musical examples via the portfolio of works. The study also contributes a large body of new vocal and choral works to the repertoire, including thirteen new Australian art-songs, five new Australian choral works and a large-scale work for orchestra and chorus.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2016.
Книги з теми "Texture orchestrale"
1
Ricketts, Matthew Jonathan. Texts—Textures—Intertexts: The Orchestral Worlds of Brian Cherney. [New York, N.Y.?]: [publisher not identified], 2017.
Знайти повний текст джерела
2
Lorenzo, Arruga, ed. I Solisti veneti: Magia delle stagioni. Milano: F. M. Ricci, 2000.
Знайти повний текст джерела
3
Sounds of Music a Study of Orchestral Texture Sounds of the Orchestra. Travis and Emery Music Bookshop, 2011.
Знайти повний текст джерела
4
Levy, Benjamin R. Apparitions and Atmosphères (1958–61). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0004.
Повний текст джерелаАнотація:
This chapter examines Ligeti’s breakthrough orchestral works Apparitions and Atmosphères. These successful compositions translate some of the ideas developed in the electronic music studio into orchestral writing, in particular, techniques for organizing rhythm and for handling sound masses to create a static surface with a sense of internal motion. In interviews Ligeti claimed to have attempted to move in this direction while still in Hungary with the unfinished pieces Víziók and Sötét és Világos. A comparison of the extant sketches for these works shows the degree to which his experiences in the electronic studio resulted in a refinement of compositional technique, nuanced textures, and original orchestration.
5
Hicks, Michael, and Christian Asplund. Let Playing Be Composition and Composition Playing: 1969–1974. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0004.
Повний текст джерелаАнотація:
This chapter marks another threshold in Wolff's musical career: Burdocks. Drawing performative techniques from the improvisatory Scratch Orchestra and heterophonic textures inspired by an African field recording, Burdocks was Wolff's first work intended for a large ensemble. It was his first multimovement work in which each movement had distinctly different instructions on how and what to play. And it was his longest in actual (not just conceptual) performance. In addition, Wolff also had to contend with competing political ideologies between his two mentors, John Cage and Cornelius Cardew, the founder of the Scratch Orchestra. Yet the chapter argues that Wolff's musical “transitional point” came not so much in Burdocks or political intent, but in a new approach to melody that began with a series of piano pieces he wrote in 1969–1970.
6
Shadle, Douglas W. Antonín Dvořák's New World Symphony. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.001.0001.
Повний текст джерелаАнотація:
Antonín Dvořák’s New World Symphony exposed the deep wounds of American racism at the dawn of the Jim Crow era while serving as a flashpoint in broader debates about the national ideals of freedom and equality. Following several strands of musical thought during the second half of the nineteenth century, this richly textured account of the symphony’s 1893 premiere shows that even the classical concert hall could not remain insulated from the country’s fraught racial politics. The New World Symphony continued to wield extraordinary influence over American classical music culture for decades after its premiere as it became one of the most beloved pieces in the standard orchestral repertoire.
7
Kapusta, John. Textual description, musical response: History and practice of the program notes of the Boston Symphony Orchestra. 2009.
Знайти повний текст джерела
8
De Souza, Jonathan. Horns To Be Heard. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0007.
Повний текст джерелаАнотація:
How do listeners relate to musial instruments that they do not play? This chapter investigates technically mediated modes of listening in the context of Haydn’s horn music. The valveless horns in Haydn’s orchestra had distinctive pitch affordances, which gave rise to several idiomatic figures. This instrumental invariance can shape tonal expectations, affecting how the music appears to listeners. Haydn (and other composers) also used horn calls in compositions for other instrumental forces. If situated listeners are attuned to schematic instrumental textures—if, for example, they can hear virtual horns in a string quartet or piano piece—this implies that their perception is grounded in multimodal experiences of instruments. Like performance, then, listening is both embodied and conditioned by technology.
9
Sisman, Elaine. Symphonies and the Public Display of Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.004.
Повний текст джерелаАнотація:
To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In so doing, they heightened their listeners’ range of musical experiences and the possibility of shared interpretations. Rereading contemporaneous opinion to find surprising topical correlations, this chapter develops an understanding of symphonic topics that draws both on referential musical styles and on the textures and colors of the orchestra itself.
10
Berry, Jason. City of a Million Dreams. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647142.001.0001.
Повний текст джерелаАнотація:
In 2015, the beautiful jazz funeral in New Orleans for composer Allen Toussaint coincided with a debate over removing four Confederate monuments. Mayor Mitch Landrieu led the ceremony, attended by living legends of jazz, music aficionados, politicians, and everyday people. The scene captured the history and culture of the city in microcosm--a city legendary for its noisy, complicated, tradition-rich splendor. In City of a Million Dreams, Jason Berry delivers a character-driven history of New Orleans at its tricentennial. Chronicling cycles of invention, struggle, death, and rebirth, Berry reveals the city's survival as a triumph of diversity, its map-of-the-world neighborhoods marked by resilience despite hurricanes, epidemics, fires, and floods. Berry orchestrates a parade of vibrant personalities, from the founder Bienville, a warrior emblazoned with snake tattoos; to Governor William C. C. Claiborne, General Andrew Jackson, and Pere Antoine, an influential priest and secret agent of the Inquisition; Sister Gertrude Morgan, a street evangelist and visionary artist of the 1960s; and Michael White, the famous clarinetist who remade his life after losing everything in Hurricane Katrina. The textured profiles of this extraordinary cast furnish a dramatic narrative of the beloved city, famous the world over for mysterious rituals as people dance when they bury their dead.
Частини книг з теми "Texture orchestrale"
1
Wiener, Patrick, and Steffen Thoma. "Streaming Language Processing in Manufacturing." In European Language Grid, 337–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17258-8_26.
Повний текст джерелаАнотація:
AbstractOften underestimated, (semi-)structured textual data sources are an important cornerstone in the manufacturing sector for product and process quality tracking. The ELG pilot project SLAPMAN develops novel methods for industrial text analytics in the form of scalable, reusable, and potentially stateful microservices, which can be easily orchestrated by domain experts in order to define quality anomaly patterns, e. g., by analysing machine states and error logs. The results are fully available as open source and integrated into the IIoT toolbox Apache StreamPipes.
2
Tilmouth, Michael, David Kimbell, and Roger Savage. "The BBC Symphony Orchestra in Edinburgh (1937)." In The Classics of Music, 787–90. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0088.
Повний текст джерелаАнотація:
Abstract The present programme displays the wide range of music that we have learnt to expect from the BBC Symphony Orchestra, with the important exceptions that it does not represent what may be called the pre-orchestral period before Haydn and Mozart, nor the ‘romantic’ period that lies between Beethoven and the most recent times. But one of the most important of recent tendencies takes the form, consciously or unconsciously, of a ‘return to Bach’; that is to say, a return to a musical texture in which every note is necessary in its own melodic right and never merely accessory to complete the harmony.
3
Schmidt, Thomas. "Form through Sound." In Rethinking Mendelssohn, 263–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0012.
Повний текст джерелаАнотація:
Felix Mendelssohn’s pioneering role in exploring instrumental colours and textures has never been in doubt. As much as that of any nineteenth-century composer, his ‘sound’ is unmistakable across all genres, whether piano, chamber, or orchestral. Yet texture and timbre have always been the poor sisters in the theory and practice of musical analysis, and little work has been undertaken in this field. This chapter offers the first systematic attempt to examine how Mendelssohn achieves his ‘sound’—how he manages, on the same material basis and using the same ensemble types as his contemporaries, to create something that sounds so unmistakably his own. In a second step, the chapter demonstrates how the composer, rather than deploying devices of texture and Klangfarbe as localized programmatic devices, uses them to articulate or indeed generate instrumental form.
4
Uno Everett, Yayoi. "Ritual and Variation in Unsuk Chin’s Šu, for sheng and orchestra (2009)." In Musical Meaning and Interpretation, 212–37. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197601297.003.0010.
Повний текст джерелаАнотація:
Abstract This chapter focuses on the role of ritual and variation in Šu, Unsuk Chin’s one-movement concerto for sheng (Chinese mouth organ) and orchestra from 2009. In Egyptian mythology, Šu is a symbol for air, a concept that refers to the sheng’s articulations and extended techniques that cover a wide spectrum from pitch to noise. From a formal perspective, the variation principle in Šu encompasses timbral and textural shifts from pitched to nonpitched modes of articulation. It also includes temporal shifts that involve metrical compression and expansion. Both techniques contribute to Chin’s deconstruction of the traditional concerto form. While the sheng and orchestral instruments participate in a contest where the latter acts as what Maris Gothóni calls “the soloist’s shadow and echo” to form organically evolving textures, the irregular metrical framework generates temporal ruptures that resist traditional forms of development. From a cross-cultural perspective as it relates to folkloristic ritual, this chapter argues that the concerto’s rhythmic and energetic features correlate with those associated with Korean samulnori drumming. It also situates Chin’s compositional aesthetics and her transcultural identity within the globalized terrain of contemporary music of the twenty-first century and, more specifically, in reference to music by other notable composers of East Asian heritage.
5
Koozin, Timothy. "Counterpoint and Embodied Expression in the Music of Joni Mitchell." In Embodied Expression in Popular Music, 161–90. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197692981.003.0007.
Повний текст джерелаАнотація:
Abstract This chapter on the music of Joni Mitchell examines her unique approach in fusing vocal melody with instrumental playing, revealing a continuity in her strategic approach to counterpoint and musical texture that is evident whether she is playing piano, guitar, or dulcimer as she sings. The study establishes how Mitchell’s artistic approach to layered musical textures in her guitar and piano work may have first developed as a strategy of adaptation after contracting polio as a child. It further explores how her artistic confidence in freely juxtaposing musical materials provides an expressive framework in her songs with orchestra and her collaborations with jazz artists in her late albums.
6
Solum, John, and Anne Smith. "The Classical Flute." In The Early Flute, 50–66. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162537.003.0004.
Повний текст джерелаАнотація:
Abstract The classical flute emerged gradually, almost imperceptibly, out of the baroque flute-this is a modern distinction-just as the classical style of music was a gradual development from the baroque style. Indeed, the traverso’s development was a reflection of the changing musical styles of the eighteenth century.1 As the thicker contrapuntal textures of the baroque orchestra were transformed into the lighter, more transparent textures of the classical orchestra, so the darker sounds of the baroque flute turned into the lighter, brighter sounds of the classical flute. The higher pitches, higher tessitura, and greater flexibility of the classical orchestra were mirrored in the higher pitches, tessitura, and flexibility of the classical flute.
7
Downey, Peter. "Performing Mr Purcell’s ‘Exotick’ Trumpet Notes." In Performing the Music of Henry Purcell, 49–60. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164425.003.0005.
Повний текст джерелаАнотація:
Abstract On 9 November 1686 Nicholas Staggins, Master of the Music, was paid ‘for faire writeing of a composition for his Majesty’s coronation day from the originall in score the 6 parts, [and] for drawing ye said composition into forty several parts for trumpetts, hautboyes, violins, tennors, [and] bases’. While the composition itself has not survived, the payment record supplies some very illuminating information. Assuming that he was the composer rather than the arranger, Staggins’s piece, which was performed on 23 April 1685, holds the honour of being the earliest recorded example of English scoring for full Baroque orchestra, anticipating by almost five years the orchestra used by Henry Purcell in the Yorkshire feast song (Z333) of 1690. Although it is often suggested that the ‘composition’ was, in fact, one of the coronation anthems performed on that date-Purcell’s ‘My heart is inditing’ (Z30) has been proposed, despite the major scoring and textual mismatches -it seems to have been a purely orchestral work which was performed separately from the coronation service itself The casual manner in which the scoring details are given suggests that the inclusion of trumpets was not so remarkable at this time. In addition, the instruments are listed in an order which mirrors that found in similarly scored English works which date from the 1690s.
8
Manning, Jane. "THIERRY PÉCOU (b. 1965)Mammal Dreams (1996)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 227–29. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0063.
Повний текст джерелаАнотація:
This chapter examines Mammal Dreams by Thierry Pécou. The powerful, darkly erotic text is by the Canadian musician and poet A. K. Coope. The chapter shows that the musical idiom is immediately seductive and fascinating, vibrant and full of contrast. The piano part teems with scurrying flourishes and translucent textures, including some distinctive pulsating repetitions. Colourful washes of sound seem almost orchestral in concept. All is acutely heard, with voice and piano complementing each other perfectly. In solo piano passages, trills are used to great effect: harmonies are extended by tingling oscillations of the top line, creating a feeling of suppressed sensuality.
9
Toff, Nancy. "The Romantic Era." In The Flute Book, 241–54. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195105025.003.0016.
Повний текст джерелаАнотація:
Abstract The nineteenth century represents a low point in the history of flute music. This fact may seem surprising since the Boehm flute, a technological innovation that was to revolutionize instrumental music, came into being during this period. But the new flute was slow to be accepted, and the difficulties for players of adopting the new fingering system and the competition it provoked among instrument makers had a negative short-term effect on the flute literature. In addition, general developments in music were not conducive to the growth of the solo flute literature, though the romantic movement adopted the flute and the piccolo as valued members of the symphony orchestra. Quite simply, the flute did not, by itself, have the capacity to produce the power and variety of tone that were the vehicles of romantic musical expression. As a member of a large orchestra, however, the flute was an integral component of a varied texture.
10
Musgrave, Michael. "Songs and Piano Music." In The Music of Brahms, 145–64. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0006.
Повний текст джерелаАнотація:
Abstract With the completion of the First Symphony, Brahms had established himself without question as the leading composer not only of choral, but also of instrumental, music in Germany and was increasingly regarded as the symbolic figure of the opposition to the aesthetic outlook of the New Germans. For not only had he demonstrated remarkable command of the forms of keyboard, chamber and orchestral composition but he had done so through a scope of historical absorption and synthesis with few parallels, drawing from it very individual modes of working capable of application to many different contexts. One major consequence of this richness was the complexity of his textures.
Тези доповідей конференцій з теми "Texture orchestrale"
1
Le, Dinh-Viet-Toan, Mathieu Giraud, Florence Levé, and Francesco Maccarini. "A Corpus Describing Orchestral Texture in First Movements of Classical and Early-Romantic Symphonies." In DLfM '22: 9th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3543882.3543884.
Повний текст джерела
2
Cazacu, Oleg. "Some aspects of orchestration in the music for the band." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.05.
Повний текст джерелаАнотація:
The repertoire for the marching band has its specificity, determined by the instrumental composition, the type of orchestra: military or civilian, the context of the performance. It includes both original opuses and transcriptions. The orchestration technique reflects all these aspects, and the authors of the works and arrangements will consider the timbre features, the possibilities of combining different instruments, the application of dynamic elements, the ways of creating/reproducing the chordal, polyphonic, melodic texture, which will harmonize and reflect the whole sound picture of the musical creation and of the musical dramaturgy.
3
Sorocean, Inga. "Jurnalele lui Vladimir Beșleagă – o ars combinatoria sui-generis." In Conferinta stiintifica nationala cu participare internationala „Lecturi in memoriam acad. Silviu Berejan”. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/lecturi.2021.05.23.
Повний текст джерелаАнотація:
În ultimele decenii, poetica jurnalului intim este supusă unui proces de reconfigurare a propriei esențe. Clauzele acestui tip de scriitură sunt din ce în ce mai des sublimate, textul confesiv integrează genuri liminare, căpătând forme hibride. Astfel, autorii de jurnal preferă să experimenteze nu doar cu personajul marcat de o identitate proteică, dar și cu tehnicile diaristice care devin o ars combinatoria, o orchestrație personalizată deseori prin recursul la artele vizuale (fotografie, grafică). Jurnalele publicate de Vladimir Beșleagă în ultima perioadă (2020-2021) se înscriu perfect în acest model diaristic. Scriitorul își asumă rolul unui „alt fel” de diarist, care reușește să mixeze observații zilnice, reflecții asupra datului ontologic, anecdote, exerciții de versificație, crochiuri și imagini simbolice, prin care asigură o coerență tematică și stilistică inconfundabilă.
4
Josué Ratovondrahona, Alain, Hanitriniaina Marielle Rakotozanany, Thomas Mahatody, and Victor Manantsoa. "Human like programming using SPADE BDI agents and the GPT-3-based Transformer." In 9th International Conference on Human Interaction and Emerging Technologies - Artificial Intelligence and Future Applications. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002939.
Повний текст джерелаАнотація:
Programming an application requires multiple people with skills and experience in that field. It will also take a lot of time with multiple steps before achieving the final result of an application. Today, developers are assisted by various tools, software, or applications based on Artificial Intelligence (AI) such as OpenAI's ChatGPT. These AI that automatically generates source code helps developers to develop applications much faster. However, although code generators are numerous and very helpful, we are not yet at the stage where we can generate a fully functional application, but just generate pieces of source code. And we don’t know yet how to understand textual descriptions of Software Requirements to generate an application directly. Or where to find data to train an AI capable of generating a functional application from textual descriptions. Therefore, we created a new architecture composed of virtual intelligent agents called SPADE BDI to create virtual developers. The virtual intelligent agents were responsible for keyword extraction, Software Requirements synthesis, and source file creation. Then we used a transformer based on pre-trained GPT-3 for source code generation. This transformer is orchestrated by a virtual intelligent agent. To solve the problem of training data, we collected and created a new dataset called WSBL. The data came from several projects developed with the Laravel Framework over 4 years. The result allowed us to have a functional application directly from a textual description. Each intelligent virtual agent played a role like a developer by analyzing textual of Software Requirements and then generating source code. With a 15% reduction in time to develop an application compared to brute development. Our new architecture allows for processing textual descriptions (Software Requirements) step by step using intelligent virtual agents named SPADE BDI and source code generation is done by a transformer based on pre-trained GPT-3 to have a directly functional application
5
Greinke, Berit, Giorgia Petri, Pauline Vierne, Paul Biessmann, Alexandra Börner, Kaspar Schleiser, Emmanuel Baccelli, Claas Krause, Christopher Verworner, and Felix Biessmann. "An Interactive Garment for Orchestra Conducting: IoT-enabled Textile & Machine Learning to Direct Musical Performance." In TEI '21: Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3430524.3442451.
Повний текст джерела
6
Mosser, L., P. Aursand, K. S. Brakstad, C. Lehre, and J. Myhre-Bakkevig. "Exploration Robot Chat: Uncovering Decades of Exploration Knowledge and Data with Conversational Large Language Models." In SPE Norway Subsurface Conference. SPE, 2024. http://dx.doi.org/10.2118/218439-ms.
Повний текст джерелаАнотація:
Abstract Hydrocarbon exploration and carbon capture and storage (CCS) evaluation are inherently multi-disciplinary tasks that require the integration of knowledge from multiple datatypes set in a historical and geological context. The diverse nature of subsurface data is often represented by a combination of direct and indirect measurements, interpretations and observations documented in multi-dimensional datasets as images, and written reports. The fidelity of these images and reports can have an enormous variety, and different qualities leading to a challenging situation where explorationists need to determine the value of a source of information while combining these sources across large spatiotemporal contexts. Modern search engines today can not only search through document text but also images. These capabilities have improved our ability to find well-known concepts based on short phrases, or keywords, combined with significant meta-data. While these types of search engines have certainly benefited practitioners, the challenge of combining information from multiple data-sources, data modalities and languages remains an open problem. With the advent of conversational large language model (LLM) systems such as ChatGPT (Achiam et al. 2023) that provide coherent textual information and are informed by their training data, have become a reality. While ChatGPT certainly has taken many industries and their disciplines by storm, the tool is not without its shortcomings. For industry applications, in many cases the information necessary to provide answers will be highly proprietary, not shared with third parties and not part of the training data of the popular LLMs. Furthermore, due to their probabilistic nature LLMs suffer from so-called hallucinations, where the model provides a confident answer based on the user provided input but is non-factual and often non-sensical. To answer a given user-query with factuality it is important to provide relevant information as context to the LLMs. Lewis et al. (2020) proposes combining two systems: An information retrieval system that provide relevant information to answer a given question or to solve a specific task, and a second system being an LLM that is supplemented with the retrieved information as context to answer the user's question. This pattern of so-called retrieval-augmented generation (RAG) has become highly popular in the last year due to the strong conversational capabilities of systems like ChatGPT, accessible developer APIs for interfacing with LLMs, open-source software to orchestrate RAG-systems, as well as the rapid development of open-source LLMs (Touvron et al. 2023). Moreover, since the RAG pattern does not require fine-tuning or re-training a language model, it remains one of the most accessible ways to tailor LLMs to proprietary knowledge bases.