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The OM Composer's Book, vol. 3
The OM Composer's Book, vol. 3.
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The OM Composer's Book, vol. 3

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  • ISBN: 978-2-7521-0283-6
  • Editorial: Delatour France, Editions
  • Encuadernación: Rústica
  • Formato: 18x26
  • Páginas: 396
  • Idiomas: Inglés
  • Tipo: LIBRO
  • código del editor: BDT0078

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Preface by Roger Dannenberg.

This third volume of the "OM Composer's book" series presents a new collection of essays written by composers describing musical works carried out with the OpenMusic computer-aided composition environment. OpenMusic is a visual programming language dedicated to music composition, designed and developed at IRCAM. It is the result of years of research and compositional experiments, and is now used by numerous contemporary music composers worldwide. The main objective of this book is to provide an overview of the uses and applications of this environment, as well as of computer music systems in a broader sense. Several approaches are described focusing on varied aspects of musical creation and computer-aided composi- tion, ranging from the production rhythmic or harmonic structures to sound processing and synthesis. The book also reveals composers’ thoughts on more general questions such as pro- gramming and the role of computer processes in musical creation.

CONTENIDO:

-Preface (Roger Dannenberg)
-Introduction (Jean Bresson, Carlos Agon, Gérard Assayag)
-"Variazioni su AlDo ClEmenti" (Michele Zaccagnini)
-Folk material transformations and elaborations in "A Vida é Nossa" (Gonçalo Gato)
-"Tri Bhuwana" for 12 voices and Balinese gamelan: Three worlds / tripartite world (Philippe Boivin)
-Programming modular progression in OpenMusic (Matthew Lane)
-Musicalising sonification: Image-to-music conversions using OpenMusic (Luiz Casteloes)
-On "slow" computer-aided composition (Julien Vincenot)
-OM-Darwin: Generative and descriptive aspects of genetic algorithms (Geof Holbrook)
-Materials and techniques in "D'improvisso da immobile s'ilumina" for bass clarinet, two orchestras, piano and percussion (Federico Bonacossa)
-Musique instrumentale concrète: Timbral transcription in "What the Blind See" and "Without Words" (Aaron Einbond)
-Recomposing Beethoven with music neurotechnology (Eduardo Reck Miranda, Anders Vinjar)
-Composing for the resonance: Finding new relationships between architecture and musical composition (Ambrose Field)
-Sketching, synthesis, spatialisation: The integrated workflow of "Cognitive Consonance" (Christopher Trapani)
-"Germination" (Jean-Luc Hervé, Serge Lemouton)
-Dialogue with OpenMusic in the process of composing "Nothing that is not there and Nothing that is" (Takéshi Tsuchiya)
-"Koch's Space" (Julián Ávila)
-Electronic sound creation in "Balaenoptera" for bass clarinet, electronic sounds, and live electronics (Fabio De Sanctis De Benedictis)
-Modelling a gesture: "Tak-Sim" for string quartet and live electronics (Alireza Farhang)
-Electronic dramaturgy and computer-aided composition in "Re Orso" (Marco Stroppa, Jean Bresson)
-"Rima Flow": Oral tradition and composition (Alessandro Ratoci)
-"Ab-Tasten": Atomic sound modelling with a computer-controlled grand piano (Marlo Schumacher)

Appendix
-OpenMusic
-Computer music tools and technology
-About the authors