COMPARISON, meta-programming, IPERSISTEMICA, the whole territory SUBJECT-. METAELETTRONICA CONSTRUCTION. In contemporary developments in avant-garde music and electronic music assisted musical composition is a broad inter-disciplinary territory, a mixture of methods and systems can be synthesized in a variety of potential a comparative study between the sciences and humanities need (it is useful to highlight the great potential of any comparative study in the understanding of systems and development of new methods of expression and analysis - consider, for example, the comparative literature and interdisciplinary studies that is expressed in the meeting between the humanities and analysis of reality socio-political world including the most varied fields of anthropology and understanding of the "other" communities and culturally more distant). The formal genesis of this new method of composition is clear the corresponding ' "zero moment" and the emergence of new expressive aided research experiences, in a span of sectors represented by all compositional strategies with the techno-scientific paradigm of computing. Chasing the minute detail of the texture and the exploration of method, you go to the meta-programming, the composition ipersistemica , the meta-electronic , to theoretical developments unpredictable, represented by example of cognitive musicology theoretical and applied developments to formal support systems that meet the algorithmic analysis, simulation procedures, copies of notational systems and interactive models. Through the various steps and studies of figures such as Xenakis, research and definition of musical patterns the computer will present the formalization of new compositional procedures. As seen in the post " Structuralism and Markov stochastic music. Introduction to the work of Iannis Xenakis (part 1) " and especially " Abstraction and formalization (" Musiques formelles "). The theories of Piaget and J. G. Deleuze in constructivism Xenakis, such formalization has to do with all those experiences of composition (not just those who use the computer) using the number as an ordering principle elements that revolve around the material composition, the ' twelve-tone method related to each other ' Schoenberg to the radicalization of this method in the serial of Anton Webern, Messiaen by to Boulez, Xenakis to having the ultimate aim of formalizing a sterile non-algorithmic music in which the logic and chairs overlooking the mechanisms of the composition, but the search for a expressive possibilities of active interaction between the composer and the system through reproducible patterns in compositional practice as its executive, an artificial system that "assists" the composer and guaranteed freedom of expression, in a stable balance between randomness and iperdeterminazione, concrete and metaprogramming between the paths traced by those of John Cage and Iannis Xenakis.
Computer Aided COMPOSITION - INFORMATION TECHNOLOGY DEVELOPMENTS COMPUTATIONAL MUSICOLOGY AND MUSIC. COMPUTER MUSIC - BACKGROUND. the electro-acoustic experimentation is part of that branch of sound generation called 'Computer Music' . For the outcome of this, Central has been the work of Max Mathews, a pioneer of computer music, in 1963 the public-known U.S. magazine 'Science'-Article "The digital computer as a musical instrument" , this marks a precise definition of time working arrangements. In this article, followed in 1969, "The Technology of Computer Music" . In 1957 Max Mathews, at the laboratories of the telephone company Bell, developed 'MUSIC' , the first program for generating sound to your computer through direct synthesis. MUSIC represented a real innovation, a leap forward of immense value to the digital synthesis of waveforms, and had a series of elaborations and developments over time until MUSIC V -1968 -, and a number of descendants to CSound, CMusic, Saol, MAX / MSP, PureData, SuperCollider, JSyn, Chuck , and all other programming languages \u200b\u200bbased on modular system (eg Native Instruments Reaktor of ). MUSIC V, in fact, represents the basic model for the creation of all other programming languages, anche i più recenti ed innovativi. Al centro di questa incredibile evoluzione frutto dell'ingegno umano c'è il computer IBM 704. "Con il programma "Music III", Max Mathews e Joan Miller hanno introdotto il concetto di "unit generator" (unità di generazione sonora) nella sintesi del suono. Una "unit generator", o UG consiste in un modulo usato per costruire vari algoritmi di generazione sonora. Le UG vennero successivamente potenziate nei linguaggi "Music IV "e "Music V". Le UG di Music V consistevano in oscillatore, filtro, addizionatore, moltiplicatore, generatore di numeri casuali, e generatore di inviluppi. Il percorso del segnale prodotto da un modulo poteva essere interconnesso con altri moduli per creare algoritmi anche complex. With these UG you could easily implement additive synthesis, subtractive and non-linear (like the famous DX7 FM was born nearly 20 years later). "Music V" had many descendants in the next 30 years among which "Mus10" Stanford University and "Music360", "music11" and "Csound" produced by Barry Vercoe on behalf of the Massachusetts Institure of Technology (MIT) [csounds.com]. Max Mathews has stated that the testing of digital synthesis is a work of composition "through sound", and implies an overcoming of the concept note and the classic work of the composer of "assemble notes." The Computer Music, ultimately replacing the concept of note with the concept of "Process" and "sound event". The processes and sound events can be extremely simple and arrive to coincide with the note, but can also be extremely complex, consisting of streams of signals which are generated sound elements similar to the traditional concept of note.
For the study we report the thesis
"Genesis of form in computer-aided musical composition: theoretical models and perspectives in the programming OpenMusic poietic" (University of Bologna - Speaker: Prof. Gianni Zanarini . Selvafiorita Submitted by Fabio).
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