Název: MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači
Variantní název:
- MIDI violin in art – from musical sound to multimedia controller
Zdrojový dokument: Musicologica Brunensia. 2022, roč. 57, č. 2, s. 177-186
Rozsah
177-186
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2022-2-9
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.77685
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.
Note
Studie byla realizována za finanční spoluúčasti Technologické agentury ČR v rámci programu ÉTA. Jde o výstup projektu Media Art Live Archive: Inteligentní rozhraní pro interaktivní zprostředkování kulturního dědictví (č. TL02000270).
Reference
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[3] CALLON, Michael – LATOUR, Bruno. Unscrewing the Big Leviathan: How Actors Macro-Structure Reality and How Sociologists Help Them to Do So. In Karin Knorr-Cetina and Aron V. Cicourel (eds). Advances in Social Theory and Methodology: Towards an Integration of Micro and Macro-Sociology. Boston: Routledge, 2014, s. 277–303.
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[6] GOTO, Suguru. The Aesthetics and Technological Aspects of Virtual Musical Instruments: The Case of the SuperPolm MIDI Violin. Leonardo Music Journal, Vol. 9, pp. 115–120, 1999.
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[11] MAREŠ, Jakub. "Ne-sociologie": pojetí modernosti Bruno Latoura. Diplomová práce. Vedoucí práce: doc. PhDr. Jiří Šubrt, CSc. FF UK v Praze, 2009.
[12] MARINETTI, F. T. et al. The Futurist Cinema [online]. [Cit. 30. 8. 2022]. URL: https://www.unknown.nu/futurism/cinema.html.
[13] MIDI Violin FAQ. Electric Violin Shop [online]. [Cit. 26. 8. 2020]. Dostupné z: https://www.electricviolinshop.com/midi-faq.
[14] MOORE, F. Richard. The Dysfunctions of MIDI. Computer Music Journal, Spring, 1988, Vol. 12, No. 1 (Spring, 1988), s. 19-28. The MIT Press. Dostupné z: http://www.jstor.com/stable/3679834.
[15] NICHOLS, Charles. The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback. Organised Sound, 7, 2002, s. 215–220. DOI: 10.1017/S135577180200211X.
[16] ROSE, Jon. Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective. Leonardo Music Journal, 2010, Vol. 20, Improvisation (2010), pp. 57–66. MIT Press. URL: http://www.jstor.com/stable/40926374.
[17] ROSE, Jon. K-bow: The Palimpolim Project [online]. [Cit: 8. 9. 2022]. URL: https://jonroseweb.com/e_vworld_k-bow.php.
[18] SARGSYAN, Simon. Interview with Jean Luc Ponty: The intellect comes after to find ways to develop that initial inspiration: Video [online]. [Cit. 7. 9. 2022]. URL: https://jazzbluesnews.com/2018/08/04/jean-luc-ponty/. August 4, 2018.
[19] SPÁČILOVÁ, Jana. Houslová hra v 17. a 18. století aneb Pokus o návod, jak hrát na barokní housle. Český Krumlov: Nadace barokního divadla, 1999.
[20] SPIELMANN, YVONNE. Steina: Violin Power, 1978. The Daniel Langlois Fondation. [online]. [Cit. 2. 9. 2022]. URL: https://www.fondation-langlois.org/html/e/page.php?NumPage=485.
[21] STRANGE, Patricia – STRANGE, Allen. The Contemporary Violin: Extended Performance Techniques. Scarecrow Press, 2001.
[22] The MIDI Association (TMA). MIDI History:Chapter 6-MIDI Is Born 1980-1983 [online]. [Cit. 2. 9. 2022]. URL: https://www.midi.org/midi-articles/midi-history-chapter-6-midi-begins-1981-1983.
[23] VASULKA, Steina. Violin Power. The Performance [Midi Violin] 1992 [online]. [Cit. 22. 9. 2022]. URL: https://vasulkalivearchive.net/upload/videos/MIDI_Violin.mp4.
[2] BURKHOLDER, J. Borrowing. Grove Music Online. [Cit. 1. 9. 2022]. URL: https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000052918.
[3] CALLON, Michael – LATOUR, Bruno. Unscrewing the Big Leviathan: How Actors Macro-Structure Reality and How Sociologists Help Them to Do So. In Karin Knorr-Cetina and Aron V. Cicourel (eds). Advances in Social Theory and Methodology: Towards an Integration of Micro and Macro-Sociology. Boston: Routledge, 2014, s. 277–303.
[4] DOLANOVÁ, Lenka. Woody a Steina Vašulkovi. In Vašulka Kitchen Brno [online]. [Cit. 31. 7. 2022]. URL: https://vasulkakitchen.org/cs/vasulkovi.
[5] FLAŠAR, Martin. Elektroakustická hudba. 1. vyd. Brno: Masarykova univerzita, 2015. Elportál.
[6] GOTO, Suguru. The Aesthetics and Technological Aspects of Virtual Musical Instruments: The Case of the SuperPolm MIDI Violin. Leonardo Music Journal, Vol. 9, pp. 115–120, 1999.
[7] HILL, Christine. Steina: Violin Power. In Vašulka Kitchen Brno [online]. [Cit. 31. 7. 2022]. URL: https://vasulkakitchen.org/en/steina-violin-power. Text written for the exhibition of Vasulkas the Burchfield Center in Buffalo in 2013.
[8] horroretc. Photos from Laurie Anderson: Invented Instruments [online]: [Cit. 7. 9. 2022 ]. IMGUR. September 2, 2020. URL: https://imgur.com/gallery/Jj4EsQ3.
[9] Laurie Anderson [online]. Wikipedia. [Cit. 3. 9. 2022]. URL: https://en.wikipedia.org/wiki/Laurie_Anderson.
[10] LICHT, Alan. Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007.
[11] MAREŠ, Jakub. "Ne-sociologie": pojetí modernosti Bruno Latoura. Diplomová práce. Vedoucí práce: doc. PhDr. Jiří Šubrt, CSc. FF UK v Praze, 2009.
[12] MARINETTI, F. T. et al. The Futurist Cinema [online]. [Cit. 30. 8. 2022]. URL: https://www.unknown.nu/futurism/cinema.html.
[13] MIDI Violin FAQ. Electric Violin Shop [online]. [Cit. 26. 8. 2020]. Dostupné z: https://www.electricviolinshop.com/midi-faq.
[14] MOORE, F. Richard. The Dysfunctions of MIDI. Computer Music Journal, Spring, 1988, Vol. 12, No. 1 (Spring, 1988), s. 19-28. The MIT Press. Dostupné z: http://www.jstor.com/stable/3679834.
[15] NICHOLS, Charles. The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback. Organised Sound, 7, 2002, s. 215–220. DOI: 10.1017/S135577180200211X.
[16] ROSE, Jon. Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective. Leonardo Music Journal, 2010, Vol. 20, Improvisation (2010), pp. 57–66. MIT Press. URL: http://www.jstor.com/stable/40926374.
[17] ROSE, Jon. K-bow: The Palimpolim Project [online]. [Cit: 8. 9. 2022]. URL: https://jonroseweb.com/e_vworld_k-bow.php.
[18] SARGSYAN, Simon. Interview with Jean Luc Ponty: The intellect comes after to find ways to develop that initial inspiration: Video [online]. [Cit. 7. 9. 2022]. URL: https://jazzbluesnews.com/2018/08/04/jean-luc-ponty/. August 4, 2018.
[19] SPÁČILOVÁ, Jana. Houslová hra v 17. a 18. století aneb Pokus o návod, jak hrát na barokní housle. Český Krumlov: Nadace barokního divadla, 1999.
[20] SPIELMANN, YVONNE. Steina: Violin Power, 1978. The Daniel Langlois Fondation. [online]. [Cit. 2. 9. 2022]. URL: https://www.fondation-langlois.org/html/e/page.php?NumPage=485.
[21] STRANGE, Patricia – STRANGE, Allen. The Contemporary Violin: Extended Performance Techniques. Scarecrow Press, 2001.
[22] The MIDI Association (TMA). MIDI History:Chapter 6-MIDI Is Born 1980-1983 [online]. [Cit. 2. 9. 2022]. URL: https://www.midi.org/midi-articles/midi-history-chapter-6-midi-begins-1981-1983.
[23] VASULKA, Steina. Violin Power. The Performance [Midi Violin] 1992 [online]. [Cit. 22. 9. 2022]. URL: https://vasulkalivearchive.net/upload/videos/MIDI_Violin.mp4.