Points of Time, Points in Time, Points in Space. Agostino Di Scipio's Early Works (1987–2000).
This paper bears on Agostino Di Scipio's work from the years 1987–2000. Early computer-generated pieces likePunti di tempo(1987) andEstensioni(1988) seem to reflect a kind of double artistic individuality. In the first piece, the musical structure is fragmented and the sound micro-structure is split...
| Publicado en: | Contemporary Music Review Vol. 33; no. 1; pp. 72 - 86 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=95888855&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 95888855 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2014 vid: 33 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 95888855 10.1080/07494467.2014.906699 ppf: 72 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 114KB tig: atl: Points of Time, Points in Time, Points in Space. Agostino Di Scipio's Early Works (1987–2000). aug: au: Zattra, Laura su: Di Scipio, Agostino, 1962- Musicians Electronic music Ecosystems Musicology sug: subj: Di Scipio, Agostino, 1962- Musicians Electronic music Ecosystems Musicology keyword: Biographical Analysis Creative Process Di Scipio Agostino Early Works Oral Communications Source Criticism ab: This paper bears on Agostino Di Scipio's work from the years 1987–2000. Early computer-generated pieces likePunti di tempo(1987) andEstensioni(1988) seem to reflect a kind of double artistic individuality. In the first piece, the musical structure is fragmented and the sound micro-structure is split in random particles. In the second (the only piece Di Scipio made with digital additive synthesis methods) both sound and the overall musical structure are worked out in a deeply deterministic way. This dualism returns frequently in Di Scipio's early career: the qualitative exploration of infinitesimal sonic units with related concepts of ‘granular’ sound, and a formalized approach to the musical macrostructure (algorithmic composition) seem to complement each other. In the winter of 1994–1995, Di Scipio started working with real-time signal processing and live electronics. He started investigating space-related phenomena, and to address himself to composing the instruments (i.e. designing the overall performance infrastructure) as a task different from composing for existing instruments, whether these are usual musical instruments or computational tools. In the new orientation, a more comprehensive view of the ‘performance ecosystem’ turned out to be crucial, and it led to important later developments (theAudible Ecosystemicsseries of live-electronics works). The present paper investigates these early stages in Di Scipio's career. It builds on a variety of sources and archival documents, and emphasizes that the composer's early efforts did not follow a linear path but rather raised issues and implications spreading out fanwise from one specific conceptual knot: the one concerning ‘emergence’ (‘sonological’ and ‘formal’ emergence). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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