1,529 research outputs found
Y entonces comprendió
No full textThe restoration of the sound tracks of the work has been completed at the Audio Laboratories of the University of Udine (Gorizia campus)under the expert supervision of Angelo Orcalli and edited by Angelo Orcalli. This restored version was based on the original documents and is accompanied with a technical report.
Milano, Ricordi, n° cat. 13973
La fabbrica illuminata
No full textLa fabbrica illuminata, for voice and four-track magnetic tape, was composed by Luigi Nono in 1964. The music on tape, recorded at the Studio di Fonologia Musicale of the RAI in Milan, was the result of the complex elaboration of audio materials from different sources: parts performed by the RAI choir of Milan, “thematic” improvisations sung by the mezzo-soprano Carla Henius, voices and noises from the Italsider plant in Genoa-Cornigliano, and synthesized sounds.
Original audio sources
Three versions by the author were identified in the RAI archives in Milan:
Milan RAI Q6, 1964, analogue magnetic tape, 1 inch, 38 cm/s, quadraphonic, created by the author for performance with live voice;
Milan RAI Q7, 1965, analogue magnetic tape, 1 inch, 38 cm/s, quadraphonic. With the soloist voice recorded3 ;
Milan RAI E28, 196[5], analogue magnetic tape, 1⁄4 inch, 38 cm/s, monophonic. With the soloist voice recorded;
The copy deposited for copyright is conserved in the Ricordi Archive, Milan:
Milan Ricordi E214, 196[7], analogue magnetic tape, 1 inch, 38 cm/s, quadraphonic.
The tapes are still in good condition and include a set of metadata pertinent to the content of the recordings. The preservative re-recording of the analogue document in digital format was carried out in the Audio laboratory of the RAI in Milan, together with the MIRAGE Laboratory.
This restoration is tied to the basic document CLN 0002 in the Archive of Casa Ricordi in Milan, a digital conservative copy of the magnetic tape Q6 of the Archive of the Studio di Fonologia at the RAI in Milan.
The restoration of the sound tracks of the work has been completed at the Audio Laboratories of the University of Udine (Gorizia campus)under the expert supervision of Angelo Orcalli and edited by Angelo Orcalli. This restored version was based on the original documents and is accompanied with a technical report
Sounds, voices and codes from the twentieth century. The critical editing of music at Mirage
No full textThe traditional history of sound is the history of musical instruments, the anatomy of vocal and hearing systems, musical gestures, well‐established theories in treatises and its written notation codes. Can we safely say that more than 140 years of sound recording have managed to transform this historical background? And to what extent did sound recording influence the future of music? The invention of the phonograph led to the creation of a history of sound events as well, which is examined in this book from a specific perspective: how is musical publishing effected when sound becomes a document, when it enters into public or private archives, becomes part of a catalog and it can be preserved, analyzed and re‐edited. But there’s more. This book also looks at the history of music. The latter has also changed because recording has affected performers and composers, creating new audiences and new repertories. This book contains contributions from researchers and Ph.D. students who conducted their research at MIRAGE
The regeneration of the electronic part of Jour, Contre‐jour by Gérard Grisey
No full textWhen MIRAGE was asked to restore the electronic part of Jour, Contre‐jour by Gérard Grisey this composition had virtually disappeared from the scenes. Due to the mixed nature of the composition during our work we were faced with two issues: the first associated with the very bad preservation state of the two magnetic tapes owned by the publisher: chemical‐physical corruption processes had jeopardized readability and quality of the recorded signal. The second issue pertains to the interpretation of the tape/score relationships. e presence of misalignments in respect of the score made all the 4‐track copies available unsuitable for publishing purposes.
Grisey had completed an extraordinary synthesis whose re‐editing required a long and complex path, considering first of all the genesis of this work. The work completed on Jour, Contre‐jour highlighted the importance of the music analysis not only in order to better understand and perform the work, but also as a guide for critical editing; it also restated the role of audio restoration as analytical tool
Tempo/Energia nel pensiero musicale del Novecento
No full textDuring the twentieth century the relationship between music and machines has become increasingly broad and complicated. Composers and musicians are now working within a complex setting of electronic, optic, and acoustic equipment, which results from the original combination between technological research and artistic experimentation. These artifacts are «materialized theories» of sound, because their construction is the concrete result of a specific interpretation of sound and audio, which contributes to determining the horizon of possible manifestations of musical thinking at any given time. They allow us to generate processes which make it possible to amalgamate different representations and effects, organizing the simultaneous presence and live interaction of heterogeneous devices for sound production and control. As a consequence, music materials can no longer be seen as the set of natural and intuitive elements internally processed by an artist. Contemporary musicians, on the contrary, are used to continuously shifting from the symbolic forms of notation for voice and acoustic instruments to electronic sound synthesis, from orchestral practice registers to live interaction using a computer. As part of these processes, action continuously reviews its operating patterns based on a recording of the effects on its performance. Therefore, the universe of the composition is not at all foreordained, but saturated with contingencies; the relationship between the system and its surrounding reality is not established a priori, because changes are based on the analysis of immediate effects. Thus, the preordination dictated by «musical logic» gives way to approximate calculation. For this reason we should acknowledge that the complexity of contemporary media leaves no room for purely textual approaches; on the contrary, in order to understand it, new conceptual tools are called for, to the extent that the equipment used for musical creation is suitable for the logic of systems: it refers not only to sound, but also to the system design itself that generates it which has become an integral part of the work project. The pathway suggested here is aimed at historicizing the development of technologically-driven expression forms, using the notions of time and energy as conceptual guidelines
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