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Technique de mon langage musical
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Year: 1944 Publisher: Paris : Leduc,

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The Technique of my Musical Langage : vol 1 : text ; vol 2 : exemples
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Year: 1956 Publisher: Paris : Leduc,

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Chronochromie pour grand orchestre
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Year: 1963 Publisher: Paris : Leduc,

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Technik meiner Musikalischen Spiele : vol 1 : text ; vol 2 : zie 36759-(2)
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Year: 1966 Publisher: Paris : Leduc,

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Les écritures musicales: : recherche et enseignement basés sur les pratiques compositionnelles
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ISBN: 9782870099742 2870099746 Year: 2007 Volume: *106 Publisher: Liège: Mardaga,


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Xenakis Matters : Contexts, Processes, Applications
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ISBN: 9781576472385 Year: 2012 Publisher: New York Pendragon Press


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Handmade electronic music : the art of hardware hacking.
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ISBN: 9780415998734 0415998735 Year: 2009 Publisher: New York Routledge


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Ohne Worte : vocality and instrumentality in 19th-century music
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ISBN: 9789058679987 9058679985 Year: 2014 Volume: 12 Publisher: Leuven Leuven University Press

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What can music tell us - without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today? In this book five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music. Drawing on a rich range of sources, they reveal the musical thought and practice of canonical composers like Berlioz, Mendelssohn, and Schumann. Their work challenges us to reconsider our musical practices and the voices manifested in them, and it encourages the creation of an art that is both historical and transcendental.

Compositional theory in the eighteenth century
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ISBN: 0674155238 067415522X 9780674155220 Year: 1992 Publisher: Cambridge (Mass.): Harvard university press,


Book
Sound work : composition as critical technical practice
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ISBN: 9462702586 9789462702585 9461663668 9789461663665 Year: 2021 Publisher: Leuven Leuven University Press

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The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with “one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. … A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work.” This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music.

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