Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]> Lieberman, David. Conférencier]]> European University of Cyprus]]> Economou, Athanassios. Modérateur]]> Licence Creative Commons
Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International]]>
en]]> http://www.centre-iannis-xenakis.org/items/show/4108]]>
Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]>
The theoretical background of my analysis is intertwined with the ideas of Ms. Livia Theodorescu-Ciocanea that are thoroughly presented at her paper titled as “Timber Versus Spectralism. Ms. Theodorescu-Ciocanea describes nine different compositional tendencies in Spectral Music: Spectralism as timbral metaphor, mimetic Spectralism, Spectralism as heterophony, Spectralism and modality, Spectralism as an archetypal approach, etc. Considering such tendencies as an important point of departure, I created a theoretical - empirical model of analysis for the better comprehension and interpretation of the sounding components and gestural interconnections in Romitelli’s music.

My model comprises three hierarchical levels. The first level, “Pitch context /Harmony”, deals with the identification of pitch complexes and/or harmonic fields, intervallic schemas and the interaction of the harmonic and inharmonic spectra of the piece. The second level, “Motion/Procedure or (Musical Operations)” illustrates the means that determine the “behavior” and the shaping – pacing, formation – of the sound. The combination of the aforementioned is interpreted, in level III, as “Musical gesture”. I consider this to describe the shaping and directionality that the “sound energy” takes, in the micro and macro structural levels on the piece. Consequently, the proposed analytical discourse highlights the subtle transition from the harmonic-inharmonic elements through the way that they are formulated and shaped, leading to their sonic depiction and/or gestural formation reaching finally their structural instantiation into the music. The ultimate goal is the internal analysis and understanding of the gestural forces, their imminent effect on the sound and structure resulting in the formation and realization of larger structural levels of the piece. Each level of my analytical model will contribute to the broaden clarification of all the sonic/gestural events highlighting the reasoning behind the sonic energy that formulates the global structural shape of the piece.
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Dimou, Stylianos. Conférencier]]> European University of Cyprus]]> Economou, Athanassios. Modérateur]]> Sammoutis, Evis. Intervenant]]> Licence Creative Commons
Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International]]>
en]]> http://www.centre-iannis-xenakis.org/items/show/4105]]>
Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]> PERFORMANCE: The ImprovScope Project
Whilst there has been intense examination of the continuum of music and architecture in relation to the outcome of musico-spatial design processes in the work of architects such as Xenakis , this creative research focuses away from the ‘product’ towards the actual creative process.
This research operates within the modality of ‘research through design (Downton 2003)’ at RMIT University Spatial Information Architecture Laboratory Sound Studios. The ‘ImprovScope’ project involves first-person explorations of the author’s improvisations on the electronic drum kit. This scoping out of the authors’ solo improvisational capacities will serve as the basis for musical compositions and creative works (See https://soundcloud.com/jjham/tripscapes) and is founded on improvisation as a vehicle through which to generate massive amounts of musical output. Improvisations are recorded in MIDI across three contexts: Beat and Fill; Drum Solo and Studio Beats, template at 100 BPM for 100 beats.
The project discusses the application of a spatial design parametric framework that offers affordance (Gibson 1979) to mediating a theoretical ‘musico-perspectival hinge (from Pérez-Gómez and Pelletier (1997)). The presentation contends that musicians who may be limited in their understanding of their music because of an inability to read, and in particular those who may be dominant in the visual-spatial thinking insights into the attributes that constitute their style. Through plan, section, elevation, axonometric projections and, ultimately, through 3D printing, drum based music is examined.
PRACTICE
This element of the presentation discusses the application of the ‘Y Condition (Martin 1994)’ within the design of the author’s own house at Bells Beach, Australia. Concepts of music, including Golden Section geometry, overlays of beat structures in window fenestration and metaphorical references to searing guitar solo’s are embodied within this built work. This element of the paper will discuss how musical concepts must, in the real world, be reconciled against pragmatic, regulatory and construction issues.
THE ACADEMY
The author reflects on a 16-year architectural design academic career and his current role in exploring musico-spatial design connections through design research. The Music Room project is discussed, wherein second year architectural design students were required to compose a ‘musique concrete’ piece, design a ‘Music Room’ space to listen to this, and construct a selection of these at 1;1. This project was run over a period of five years, resulting in around fifty projects being constructed. ]]>
Ham, Jeremy. Conférencier]]> European University of Cyprus]]> Economou, Athanassios. Modérateur]]> Lieberman, David. Intervenant]]> Novak, Marcos. Intervenant]]> Lanzilotti, Anne. Intervenante]]> Licence Creative Commons
Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International]]>
en]]> http://www.centre-iannis-xenakis.org/items/show/4104]]>
Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]>
At a first glance, these positions may appear incompatible and incommensurable, but considering Xenakis' full awareness of the implicit problems in the aforementioned domains, this presentation would like to argue for possible ways that this fissure is in fact justifiable, by alluding to topological operations that reconcile the analog and the digital.

More specifically, the argument will mainly be exemplified in a transdisciplinary way by presenting personal work, in which rendered images taken from a parametrically designed piece of marble (designed by Arch-T) were used to as a compositional tool. The operations to and from the rendered images to the raw sound can be loosely defined mathematically as topological homeomorphisms.
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Vasquez Hadjilyra, Oswald Emiddio. Conférencier]]> European University of Cyprus]]> Economou, Athanassios. Modérateur]]> Kanach, Sharon (1957-....). Intervenante]]> Sammoutis, Evis. Intervenant]]> Novak, Marcos. Intervenant]]> Licence Creative Commons
Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International]]>
en]]> http://www.centre-iannis-xenakis.org/items/show/4103]]>