Název: Everyone can be composer today – full stop or question mark?
Zdrojový dokument: Musicologica Brunensia. 2017, roč. 52, č. 1, s. 43-52
Rozsah
43-52
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2017-1-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/136926
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The incredible tempo of technological development has been incomparable with the rapidity of paradigm shifts in art, particularly over the past 25 years of the "digital age". Approaching technology using its surface control level as an easy tool for art creation (due to lack of time while exploring it, or lack of knowledge, or just due to superficiality) is not often challenging enough to compete with core traditions of art craft across creative disciplines. Due to the rising complexity of user interfaces technologies require either more knowledge, experience and specialization, or provide their users with simplifying solutions. Technologies also do not represent only pool of tools to be used. From media point of view, they gradually incorporate history of knowledge and its continuity. Using piece of technology to make music does not necessarily mean we understand how music is created on its structural level. We become composers thanks to knowledge embodied in the technology itself. Thanks to preset-based-technologies everyone can become composer today reaching quite complex results. In my presentation I am addressing issues of craft and virtuosity in contemporary music composition and performance and I am looking for ways how deep music knowledge can be taught and developed through use of technologies.
Reference
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[4] RATAJ, Michal: Discontinuity, paradigm change and new crafts of sound composition, in: Electronic Music Today. Where are we going and what are we doing. Martin Flašar – Daniel Matej – Michal Rataj (eds.). Janáčkova akademi múzických umění v Brně, 2014, p. 14–27.
[5] TIMMERMANS, Hans, ed.: Is the sky the limit? In Proceedings of the 42st International Computer Music Conference, 12–16 September 2016. HKU University of the Arts Utrecht, HKU Music and Technology, 2016. pp. XXIII–XXVII.
[6] WANDERLEY, Marcelo M. Gestural Controll Of Music. International Workshop – Human Supervision and Controll in Engineering and Music, Kassel, Germany, Sep 21–24, 2001.
[7] WESSEL, David, WRIGHT, Matthew, SCHOTT, John: Intimate Musical Control of Computers with a Variety of Controllers and Gesture Mapping Metaphors, in: Proceedings of the 2002 Conference on New Instruments for Musical Expression (NIME-02), Dublin, Ireland, May 24–26, 2002.
[8] ZBYSZYNSKI, Michael, WRIGHT, Matthew, MOMENI, Ali, CULLEN, Daniel: Ten Years of Tablet Musical Interfaces at CNMAT, in: Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME07), New York, USA, 2007, p. 100–105.