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Extreme Sight-Reading, Mediated Expression, and Audience Participation: Real-Time Music Notation in Live Performance

机译:极限视觉阅读,中介表达和观众参与:现场表演中的实时音乐符号

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摘要

Rossini would often wait until the last possible moment to compose overtures. He wrote the overture to Otello the evening before the opera's 1816 premiere. For La gazza ladra the following year, Rossini waited until the day of the premiere to score the overture, working, as he later wrote, "up under the roof of La Scala in Milan." He also noted: "Nothing is better for inspiration than necessity, the presence of a copyist waiting for your work, sheet by sheet" (Hughes 1956, p. 247). Real-time music notation systems take Rossini's strategy to new extremes, waiting to create the score until during the performance. Unlike most live computer-music performance environments, these software algorithms do not produce digital audio or control data. Instead, they produce a dynamic musical score that may contain conventional Western notation or a range of graphical representations, which is interpreted by human musicians to create sound.
机译:罗西尼通常会等到最后一刻才可以提出序曲。在歌剧1816年首演前夕,他将序曲写给了奥泰罗。对于第二年的《 La gazza ladra》,罗西尼等到首映当天才获得序曲,他随后写道:“在米兰的斯卡拉大剧院顶下”。他还指出:“没有什么比有必要更好的启发了,有抄写员在一页一页地等待着您的工作”(休斯,1956年,第247页)。实时音乐记谱系统将Rossini的策略推向了新的高度,一直等着在演出之前创建乐谱。与大多数现场计算机音乐表演环境不同,这些软件算法不会产生数字音频或控制数据。相反,它们会产生动态乐谱,其中可能包含常规的西方乐谱或一系列图形表示,人类音乐家会对其进行解释以创建声音。

著录项

  • 来源
    《Computer Music Journal》 |2008年第3期|p.25-41|共17页
  • 作者

    Jason Freeman;

  • 作者单位

    Music Department College of Architecture Georgia Institute of Technology 840 McMillan Street Atlanta, Georgia 30332-0456 USA;

  • 收录信息
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 音乐;
  • 关键词

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