appunti di Rumorismo Tessile


“Non torneremo alla normalità, perché la normalità era il problema”.

Explore the Sound of Islands That Never Existed

<2018-07-20 ven>

AS A COMPOSER, ANDREW PEKLER aims to make music that uses synthetic sounds to build real-seeming places. With electronic instruments, he creates the sound of wind, waves, bird calls, and insects.

DONE Boodler   python

<2018-01-25 gio> fatto!
dopo diversi tentativi andati a vuoto sono riuscito,

seguendo il suggerimento per Ubuntu in Installation Information For Various Platforms,

a far funzionare nuovamente Boodler.

ai tempi della Massa Critica avevo generato qualche Ciclo Ambiente Sonoro:

Rumori Ciclici

in sostanza, tramite "effetti" (che non sono altro che piccoli programmi in python) boodler utilizza campioni in formato wav|aiff e li elabora in loop generando un ambiente sonoro continuo & mutevole. io non ho fatto altro che utilizzare gli effetti distribuiti come esempi (con licenza GPL) con delle campionature di campanelli di bici (No(C)).

InternAzionalNeoIsmo CicloPlagiarista

blop.EchoWorld "tock noises everywhere"

cavepool.Cavern "rockpool at mountain's root"

drumbeat.DualDrums "two mutating drum tracks, one on each side"

fire.Bonfire "varying bonfire"

frogs.FrogPond "a pondful of frogs"

TODO sarebbe bello fare qualcosa con la tessitura

<2018-01-25 gio>

che ne so,
anche solo la generazione di Ambienti Sonori Tessili a partire dalle armature dei telai;

sarebbe una buona occasione per sporcarsi i polpastrelli con python

TODO Cartoons

<2018-01-27 sab>

come fatto da David Shea nell'album "i"
vorrei programmare qualche ambiente sonoro con campionature di cartoni animati

giusto per appuntare qualcosa:

Musique d'ameublement

<2017-12-19 mar>

Musique d'ameublement è un'espressione coniata dal compositore francese Erik Satie per designare l'ultima fase della sua produzione (1916-1925). Letteralmente significa "musica da arredamento" e viene talvolta tradotta con "musica da tappezzeria". Lo stesso Satie la definisce come "musica che non ha bisogno di essere ascoltata", suscitando presso i suoi contemporanei numerose polemiche…

Un giorno Satie, seduto ad un caffè', disse al suo compagno Fernand Léger:

«Sai, bisognerebbe creare della musica d'arredamento, cioè una musica che facesse parte dei rumori dell'ambiente in cui viene diffusa, che ne tenesse conto. Dovrebbe essere melodiosa, in modo da coprire il suono metallico dei coltelli e delle forchette senza però cancellarlo completamente, senza imporsi troppo. Riempirebbe i silenzi, a volte imbarazzanti, dei commensali. Risparmierebbe il solito scambio di banalità. Inoltre, neutralizzerebbe i rumori della strada che penetrano indiscretamente dall'esterno.»


La musica spiegata ai miei figli - puntata del 19-12-2017

David Cope   lisp

David Cope (born May 17, 1941 in San Francisco, California) is an American author, composer, scientist, and former professor of music at the University of California, Santa Cruz. His primary area of research involves artificial intelligence and music; he writes programs and algorithms that can analyse existing music and create new compositions in the style of the original input music. He taught a summer Workshop in Algorithmic Computer Music that was open to the public (but not free) as well as a general education course entitled Artificial Intelligence and Music for enrolled UCSC students. Cope is also cofounder and CTO Emeritus of Recombinant Inc, a music technology company.



David Cope is Dickerson Emeriti Professor at the University of California at Santa Cruz (howell@ucsc.edu) where he teaches theory and composition, and Honorary Professor of Computer Science at Xiamen University (China). He also teaches regularly in the annual Workshop in Algorithmic Computer Music (WACM) held in June-July at UC Santa Cruz. He was born in San Francisco, California on May 17, 1941. Following early study on piano (including an extensive performance career) and violoncello, he completed degrees in composition at Arizona State University and the University of Southern California studying with George Perle, Halsey Stevens, Ingolf Dahl and Grant Fletcher. His over seventy published compositions have received thousands of performances throughout the U.S. and abroad, including those by the Vermont, Pittsburgh, Indianapolis, Cabrillo Festival, and Santa Cruz Symphony Orchestras, as well as numerous university orchestras and wind ensembles. His compositions include 9 symphonies, 6 string quartets, and 4 piano sonatas. Thirty-six of Cope's works appear on recordings including Variations (piano and wind orchestra; Cornell University), Re-Birth (concert band), Concert (piano and orchestra, Mary Jane Cope, soloist) and Threshold and Visions (orchestra). Complete albums of his music have appeared on Folkways (2), Opus One and Epoc Music (24) and include a wide diversity of works from large ensembles (his nine symphonies), to string quartets (six), to soloists with electronic and computer-generated tape.

Steven Mamula writes about Cope's work in a definitive article in the American Record Guide (May, 1982):

"David Cope is unquestionably one of this generation's most ambitious, prolific and multifarious composers. His music in a large measure is marked by tension, achieved through sharply dissonant, sustained tonal clusters, sporadic and impulsive phrasing, and wide skips in the linear movement. His textures are transparent, though not always sparse, and rhythms seem to fall at extremes: either subtle and almost not pulsating, or fiercely aggressive with frequent juxtapositions of both. David Cope's Concert For Piano and Orchestra (1980) exemplifies much of this essence. The work contains several passages that are a multilayering of single note drones played in succession by individual instruments. A crescendo builds as each instrument enters, creating an anxiety that approaches the teeth-grinding level. Much as in serial music, repose is achieved here not by succeeding dissonance with consonance, but rather by succeeding dissonance with lesser degrees of dissonance. The piano serves a minimal but judicious role, delivering angular, single line statements marked with huge leaps, and brief, repeated arpeggiations in the upper register that together produce a striking antithesis to the orchestral fabric. During the work's latter half, a furious, single note figure erupts at the piano's bottom end, which churns in syncopation soon imitated by numerous percussion instruments, followed by powerful crescendos in brass lines.

"For the past three years Cope has also been involved with creating a massive work (two hours) for single performer. The composer became interested in finding a place that he loved and that fascinated him, exploring its history, lore, religions, etc., and then creating a piece from that intimacy. Canyon de Chelley in Arizona has been such a place for him. He began by studying all published material on the Canyon's archaeological roots and art history (Anasazi art, petroglyphs primarily), as well as learning as much of the Navajo language as possible, then went to live for a time in the Canyon, exploring it thoroughly and continuously sketching musical ideas from the mountain of research. Also, during this time he built many instruments (not as a craftsman but as a composer, i.e., instruments not beautiful or masterful, since some contained only one note). Some were made with materials such as prayer stones and sheepbone mallets, though very few artifacts were removed and all with permission. Cope declares '…slowly but surely a piece is emerging, one so personal and intensely real that 'performance' hardly describes the results.' The title of his cosmically ambitious work is THE WAY."


Emily Howell

Emily Howell is a computer program created by David Cope, a music professor at the University of California, Santa Cruz. Emily Howell is an interactive interface that "hears" feedback from listeners, and builds its own musical compositions from a source database, derived from a previous composing program called Experiments in Musical Intelligence (EMI). Cope attempts to “teach” the program by providing feedback so that it can cultivate its own "personal" style. The software appears to be based on latent semantic analysis.

Emily Howell’s first album was released in February 2009 by Centaur Records (CRC 3023). Titled From Darkness, Light, this album contains her Opus 1, Opus 2, and Opus 3 compositions for chamber orchestra and multiple pianos. Her second album Breathless was released in December 2012 by Centaur Records (CRC 3255).


Autore: SchiZo SchiZo

Email: schizo@autistici.org

Created: 2020-06-21 dom 17:28

Creato con Emacs 25.2.2 (Org mode 9.0.9)