ALVISE VIDOLIN PDF

Each passage is described in plain words in a separate part of the score fig. Levels and volumes of each of the elements are expressed in proportional form in tenths i. No references to specific technologies are made. However, it can be easily picked up, studied and re-interpreted from the score alone 9. These works could only be performed by an extremely small group of gifted musicians which were personally trained and instructed by Nono for each work, and the electronics were no exception to this. However, musicians and technicians along with the Archivio Luigi Nono have collected abundant notes and documentation over the years to reconstruct the late works in every details, and when publisher BMG-Ricordi decided to provide a new edition to each of these works, they were ready to answer the call.

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Each passage is described in plain words in a separate part of the score fig. Levels and volumes of each of the elements are expressed in proportional form in tenths i.

No references to specific technologies are made. However, it can be easily picked up, studied and re-interpreted from the score alone 9. These works could only be performed by an extremely small group of gifted musicians which were personally trained and instructed by Nono for each work, and the electronics were no exception to this. However, musicians and technicians along with the Archivio Luigi Nono have collected abundant notes and documentation over the years to reconstruct the late works in every details, and when publisher BMG-Ricordi decided to provide a new edition to each of these works, they were ready to answer the call.

Here too, the score is provided with a detailed description of each processing along with a graphic pattern for performance fig. In addition, the edition of score comes with a DVD which contains:. It should be noted that the DVD does not carry a simple recording of the complete performance.

As stated above cf. A useful addition could be, here too, the presence of impulse responses for each processing element, and the replacement of references to specific hardware i. Representation of sound location in space still remains a harder problem to solve. When things get more complicated, the space-time characteristic of sound location still poses great challenges to concise symbolic notation that can be learned by performers out of the score alone.

We hope to have raised with this paper the attention over a problem whose solution is ever more urgent: that of the sustainability of live electroacoustic music works. Since the first draft of this paper we have noticed at least one other paper devoted precisely to this issue cf. Polfreman et al in a knowledgeable and documented way.

The authors rely on specific current technology and hardware, thus simply postponing the problem to a later stage, maybe ten, twenty or thirty years from now. Instead, we strongly maintain that live electroacoustic works will stand a better chance of sustainability if their score will rely upon:.

In particular, any dependency on any form of computing platform and software should be strongly avoided in the scores. Battistelli, Giorgio. Text by Renzo Rosso. Bernardini, Nicola.

Comparison of different audio restoration methods based on frequency and time domains with applications on electronic music repertoire, in Proceedings of the International Computer Music Conference , pp.

Eco, Umberto. Trattato di Semiotica Generale. Milano: Bompiani, Lazzarini, Victor. Lesk, Michael. Nono, Luigi. Das Atmende Klarsein , 1st edition , 2nd edition. Per piccolo coro, flauto basso, live electronics e nastro magnetico. Marcum, Deanna and Amy Friedlander. Porck, Henk J. Preservation Science Survey: An overview of recent developments in research on the conservation of selected analog library and archival materials. Rothenberg, Jeff. Avoiding technological quicksand: Finding a viable technical foundation for digital preservation.

Stockhausen, Karlheinz. Bernardini, Nicola and Alvise Vidolin. Argentini and C, Mirolo eds. Gorizia, Canazza, Sergio and and Alvise Vidolin eds. Vidolin, Alvise. Pope, A. Vidolin, Alvise, D. Bonsi, D. Gonzalez and D. Budapest, Social top email facebook twitter English. The term dense is taken from early semiotic studies cf.

Eco, p. It basically means documents that carry all the information within themselves, i. Electronic Music Studios. There are 11 descriptions similar to that shown in fig. Notably at the Hebbel-Theater in Berlin in , under the sound direction of sound direction of Mark Polscher. Here too, there are many performances by several different players and teams.

LIBRO CAIN DE JOSE SARAMAGO PDF

Sustainable Live Electroacoustic Music

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Roberto Fabbriciani & Alvise Vidolin

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