1 400 2 https://centre-iannis-xenakis.org/files/original/a29dcac5303abb78a5840abf7e4469ad.mp4 9115794adb254e41c3d1168a6ce087f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Supports vidéos Description An account of the resource Images animées : documentaires vidéo, reportages, témoignages. Identifier An unambiguous reference to the resource within a given context http://www.nakala.fr/collection/11280/c21b4e9f Moving Image Toutes images de type vidéos, animations, reportages. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31 minutes 33 seconds Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The genesis of structure: A narrative description of F. Romitelli’s Yellow, Green and Blue Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture Creator An entity primarily responsible for making the resource Dimou, Stylianos. Conférencier European University of Cyprus Contributor An entity responsible for making contributions to the resource Economou, Athanassios. Modérateur Sammoutis, Evis. Intervenant Subject The topic of the resource Congrès et conférences - Architecture -- 20e siècle Congrès et conférences - Musicologie -- 20e siècle Continu (philosophie) Description An account of the resource In this paper I will present an analysis of Fausto Romitelli’s piece Yellow, Green and Blue aiming for the realization of the driving forces that forge the structural shape of the piece. I will primarily focus on selected concepts and ideas that could shed light on a more thorough understanding of such musical forces that not only affect the shaping of the musical form but could possibly suggest a more crucial reasoning on the understanding and listening experience of the piece. In addition to that I will address the question of syntactic coherence and sonic unity in a work of such plasticity, where discrete units such as motive, phrase, etc. are not particularly helpful terms in a sonic landscape which has to do more with sculpting of large masses of sound. F. Romitelli describes characteristically: “At the center of [his] composing lies the idea of considering sound as a material into which one plunges in order to forge its physical and perceptive characteristics: grain, thickness, porosity, luminosity, density and elasticity. Hence it is sculpture of sound, instrumental synthesis, anamorphosis, transformation of the spectral morphology, and a constant drift towards unsustainable densities, distortions and interferences, thanks also to the assistance of electro-acoustic technologies”. 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. Source A related resource from which the described resource is derived Un fichier numérique uniquement Date A point or period of time associated with an event in the lifecycle of the resource 2016-06-14 Publisher An entity responsible for making the resource available Centre Iannis Xenakis European University of Cyprus University of Cyprus Université de Rouen École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime) Rights Information about rights held in and over the resource <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) &oelig;uvre est mise &agrave; disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a> Format The file format, physical medium, or dimensions of the resource Fichier vidéo numérique, .mp4 Language A language of the resource en Type The nature or genre of the resource moving image Identifier An unambiguous reference to the resource within a given context http://www.centre-iannis-xenakis.org/items/show/4105 Fausto Gesture Livia Theodorescu-Ciocanea Romitelli Structure Timbre https://centre-iannis-xenakis.org/files/original/546d83201c57e9e358a423fd3e7cdee2.mp4 f4781b8d9becfff0d8ae5def4159f4de Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Supports vidéos Description An account of the resource Images animées : documentaires vidéo, reportages, témoignages. Identifier An unambiguous reference to the resource within a given context http://www.nakala.fr/collection/11280/c21b4e9f Moving Image Toutes images de type vidéos, animations, reportages. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29 minutes 12 seconds Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composer dans le continuum : fréquence, temps, timbre, espace Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture Creator An entity primarily responsible for making the resource Pape, Gerard. Conférencier École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime) Contributor An entity responsible for making contributions to the resource Criton, Pascale (1954-....). Modératrice Delhaye, Cyrille. Intervenant Subject The topic of the resource Congrès et conférences - Architecture -- 20e siècle Congrès et conférences - Musicologie -- 20e siècle Continu (philosophie) Description An account of the resource In this text, I explore the sonic inter-relations between space, time and timbre. The physical structure and the psycho-acoustical perception of these 3 dimensions of sound are inter-connected, and ,thus, are on a common psycho-physical continuum. When we hear transformations of timbre over time we also hear changes in the spatial dimension of the music. Different timbres resonate and reverberate in the musical space over time according to how they are transformed spectrally. Transforming a sound towards timbral simplicity (removing almost all spectral content) reduces its spatial localisation towards "point sound", whereas enriching the spectral content by increasing its noise content over time will create a more complex and indistinct spatiality as far as the localisation of the sound is concerned. A rich and complex sound changes sonic "shape" (i.e. its resonance and reverberation in the container space) over time as the spectral content "slides" over the total timbral continuum from the simple sinewave to the complex wave. If we consider all dimensions of the sound at once, we may think of them as combining to make a spectral "harmony" of time, timbre and space. Composing with sound as such a spectral harmony means transforming at once the many dimensions of the sound over time. One can not treat the multi-dimensions of sound as completely independent "parameters" (as total serialism tried), but rather we should think of sound as a multi-dimensional, topologically varying sonic object that is in constant evolution. These sonic variations give our perception a rich and satisfying psycho-acoustical experience, especially when the composer transforms all of these dimensions at once, making for rich spectral-harmonic modulations in the space-time-timbre continuum. Source A related resource from which the described resource is derived Un fichier numérique uniquement Date A point or period of time associated with an event in the lifecycle of the resource 2015-11-03 Publisher An entity responsible for making the resource available Université de Rouen European University of Cyprus University of Cyprus École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime) Centre Iannis Xenakis Rights Information about rights held in and over the resource <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) &oelig;uvre est mise &agrave; disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a> Format The file format, physical medium, or dimensions of the resource Fichier vidéo numérique, .mp4 Type The nature or genre of the resource moving image Language A language of the resource fr Identifier An unambiguous reference to the resource within a given context http://www.centre-iannis-xenakis.org/items/show/4084 Continuum Espace Morphologie Psychoacoustique Temps Timbre