XenakisV1, Hal, Curation, bibRecord, 000014

INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE'S CONCERT FOR PIANO AND ORCHESTRA (1957-58)

Identifieur interne : 000014 ( Hal/Curation ); précédent : 000013; suivant : 000015

INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE'S CONCERT FOR PIANO AND ORCHESTRA (1957-58)

Auteurs : Benny Sluchin [France] ; Mikhail Malt [France]

Source :

RBID : Hal:hal-01580136

English descriptors

mix :
- Computational Musicology, Computer Aided Performance, Empirical Musicology, John Cage 1912-1992, Music Formalization, Music Modeling.

Abstract

Conceptual musical works that lead to a multitude of realizations hold a particular interest. One can't talk about a performance without taking into account the rules that lead to the existence of that particular presentation. After dealing with similar works of open forms by Iannis Xenakis and Karlheinz Stockhausen, the interest in John Cage's music is evident. His works are " so free " that one can play any part of the material; even a void set is welcomed. The freedom is maximal and still there are decisions to consider in order to perform the piece. The present article focuses on the Concert for Piano and Orchestra of 1957–58 [1], and it is part of the Cagener project, intended to develop a set of conceptual and software tools, which generates a representation of the pieces, intended to assist the performers in their task. The computer serves as a partner in making choices of multiple possibilities, mix together sounds of different sources and of various kinds and following compositional ideas clearly stated.

Url:

https://hal.archives-ouvertes.fr/hal-01580136

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to stream Hal, to step Corpus: Pour aller vers cette notice dans l'étape Curation :000014

Links to Exploration step

Hal:hal-01580136

Le document en format XML

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<front><div type="abstract" xml:lang="en">Conceptual musical works that lead to a multitude of realizations hold a particular interest. One can't talk about a performance without taking into account the rules that lead to the existence of that particular presentation. After dealing with similar works of open forms by Iannis Xenakis and Karlheinz Stockhausen, the interest in John Cage's music is evident. His works are " so free " that one can play any part of the material; even a void set is welcomed. The freedom is maximal and still there are decisions to consider in order to perform the piece. The present article focuses on the Concert for Piano and Orchestra of 1957–58 [1], and it is part of the Cagener project, intended to develop a set of conceptual and software tools, which generates a representation of the pieces, intended to assist the performers in their task. The computer serves as a partner in making choices of multiple possibilities, mix together sounds of different sources and of various kinds and following compositional ideas clearly stated.</div>
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   |texte=   INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE'S CONCERT FOR PIANO AND ORCHESTRA (1957-58)
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INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE'S CONCERT FOR PIANO AND ORCHESTRA (1957-58)

INTERPRETATION AND COMPUTER ASSISTANCE IN JOHN CAGE'S CONCERT FOR PIANO AND ORCHESTRA (1957-58)

Source :

English descriptors

Abstract

Links toward previous steps (curation, corpus...)

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri