Vol1 No.2 INICIO
Vol1 No.2
ISSN 2317-9694

Materiales EXTRA Materials



Sonic/musical ideas: Compositional Remarks on Computer Music.
Por/By: Arturo Fuentes
This article approaches the subject of musical meaning within the field of musical representations in computer music composition. Following the main lines of the hermeneutical criticism of representation, I shall focus on the notion of action-perception, as well as that of emergence, thereby establishing that musical significations appear every moment we execute a local action which reveals a musical context to us. In discussing the perspective of operatory procedures in music composition, we shall recognize that our compositional strategies are produced (as any other creation system committed to action) through a "formal incompleteness"; this last concept is then analysed in the light of human-computer interaction. ... leer/read

Del diálogo a la ilusión de control: procesos interactivos en la instalación sonora sonanismo
Por/By: Miguel Álvarez Fernández
Sonanismo (o, para el público de habla inglesa, Soundanism) es una instalación sonora interactiva desarrollada por Stefan Kersten, Asia Piascik y Miguel Álvarez Fernández, y presentada por primera vez en septiembre de 2006 en el contexto de la exposición colectiva "In-Sonora II", celebrada en la galería Espacio Menosuno de Madrid1. En esta obra se problematizan diferentes cuestiones estéticas relacionadas con los procesos de interactividad, que tratarán de analizarse a lo largo de esta comunicación. ... leer/read

Featured Extraction for Self-Adaptive Synthesis
Por/By: Risto Holopainen
Aural feedback, in the sense of hearing what one is playing, is essential for any kind of musical performance. If the pitch of a note turns out to sound a bit too high, it is immediately adjusted by the musician. This process can be transferred to the realm of sound synthesis, and to what we will call adaptive synthesis models. The goal, however, will be much more modest than to model the interaction between a real musician and an acoustic instrument. It will also be different, since self-adaptive synthesis is a self-organizing process. ... leer/read

Cómo trabajar de manera cómoda con Csound en PC
Por/By: Yair López
El siguiente texto nos servirá como guía para instalar y configurar Csound de manera fácil y cómoda en una PC con sistema Windows XP. ... leer/read

The Application of Memetic Analysis to Electroacustic Music
Por/By: Mathew Adkins
Richard Dawkins' concept of the meme was first formulated in his book The Selfish Gene (Oxford, 1976). In The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture (Ashgate, 2007), the first substantial text applying the concept of memetics to music, Steven Jan proposes a theory of music and an associated analytical method centred on the meme. For Jan, memes are a multitude of musical ‘units' or ‘replicators' that are transmitted by imitation both within, and across genres of music. Jan's study focuses primarily on the application of memetics to the analysis of classical music. This paper will assess the contribution of memetic analysis to electro-acoustic music. ... leer/read

Revisiting the Illiac Suite – a rule based approach to stochastic processes
Por/By: Örjan Sandred, Mikael Laurson, Mika Kuuskankare.
This article will first discuss the use of probability distribution in L.A. Hiller and L.M. Isaacson's string quartet the Illiac Suite. After pointing out some limitations with the technique used in the Illiac Suite, the use of stochastic rules in a constraint-based system will be introduced. Finally two possible versions of the beginning of the last movement in the Illiac Suite will be used to demonstrate the combination of stochastic and ordinary rules. ... leer/read