Marco Giommoni – Janusz Podrazik
Fundamentals of composition with Opusmodus

Book 1

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This is the first volume of a series of publications specifically dedicated to composition and analysis of music using the Opusmodus system. This volume focuses on the basic elements of the system and on the “fundamental” strategies in defining symbolic expressions in a text-code i.e. generation and transformation of musical material to create a score. In this book, a few pages were dedicated to the history of musical theory, with particular reference to the relationship between numbers and music in the second half of the 20th century. The purpose of the book is therefore to demonstrate that the use of Opusmodus system  is simple, linear, easy to learn and within the reach of every musician, and is by no means part of a universe reserved only for the few.

Autores:
Titolo Fundamentals of composition with Opusmodus
anno pubblicazione 2021
dimensioni 17 x 24 cm
numero di pagine 168
ISBN 9791280270078
Category:

COD: URANIA_07

Janusz Podrazik

Janusz Podrazik è un compositore, programmatore, fondatore e creatore del sistema Opusmodus. Dagli anni '80 ha condotto ricerche sulla Computer Music, uno studio che concerne le applicazioni della tecnologia informatica nella composizione musicale. "Il primo passo è stato comprendere il processo creativo e la metodologia compositiva abbastanza bene da poterli riprodurre come algoritmi, fornendo al compositore uno spazio illimitato per la manipolazione delle strutture musicali e la loro sperimentazione".
Le molteplici conoscenze e competenze accumulate in questo campo gli hanno consentito di comporre numerosi brani musicali per orchestra, per film, performance e teatro.
È Amministratore Delegato (CEO) della società Opusmodus.

Janusz Podrazik is a composer, programmer and founder and creator of the Opusmodus System. Since the 1980's he has conducted research into Computer Music, a study relating to the applications of computing technology in music composition. "The first step was to understand the creative process and methodology well enough to reproduce it as an algorithm that provides the composer with an unlimited scope for structural manipulation and experimentation." This accumulated knowledge and dexterity has enabled him to compose numerous pieces for orchestra, scores for film, performance and the theatre. He is the CEO of the Opusmodus company.

Marco Giommoni

Marco Giommoni, dopo gli studi di Composizione e Musica Elettronica, si è perfezionato nelle tecniche della musica d’avanguardia sotto la guida di Gyorgy Ligeti e Iannis Xenakis. Ottenuta la laurea in Musicologia presso il DAMS di Bologna, ha conseguito il Dottorato in Scienze della Musica con Rossana Dalmonte all'Università di Trento e il Doctorat en Musique et Musicologie con Pierre Albert Castanet all’Università di Rouen. I suoi studi e le sue ricerche già dalla prima metà degli anni ’70 si sono concentrati sull'Informatica Musicale con particolare riferimento alla Musica algoritmica e in genere alla scrittura della musica assistita dal computer. Oggi è ricercatore e responsabile editoriale in Opusmodus.

After studying composition and electronic music, he specialised in avant-garde music techniques with Gyorgy Ligeti and Iannis Xenakis. After obtaining a degree in Musicology from the DAMS of Bologna, he obtained PhD in Music Sciences with Rossana Dalmonte at the University of Trento and PhD in Music and Musicology with Pierre Albert Castanet at the University of Rouen. His studies and research since the first half of the 1970s have focused on Musical Informatics with particular reference to algorithmic music and in general to computer-assisted music writing. Today he is researcher and editorial manager in Opusmodus.

PREFACE
Janusz Podrazik – Marco Giommoni – Achim Bornhoeft – Stéphane Boussuge

ACKNOWLEDGMENTS 

  1. COMPUTERS AND MUSIC

1.1. Computers – 1.2. Computer Music – 1.3. Common Lisp – 1.3.1. Lisp Syntax

  1. OPUSMODUS

2.1. User interface

2.2. OMN The Language –
2.2.1. The Four Elements –
2.2.2. Lengths –
2.2.3. Pitches –
2.2.4. Velocities (Dynamics) –
2.2.5. Articulations (Attributes) –
2.2.6. Repetitions –
2.2.7. Segmenting OMN Forms

2.3. System Library –
2.3.1. Compositional Strategies –
2.3.2. To Get Started –
2.3.3. Methods –
2.3.4. Counterpoint –
2.3.5. Strategies with a Given Material –
2.3.5.1. Example 1 –
2.3.5.2. Example 2 –
2.3.5.3. Example 3 –
2.3.5.4. Example 4 
– 2.3.6. Def-Score –
2.3.6.1. Layout Examples –
2.3.7. Other Functions –

2.4. Stochastic Music –
2.4.1. Probability and Randomness – 2.4.2. Polygon-Rhythm – 2.4.2.1. Rhythm 1 – 2.4.2.2. Rhythm 2 – 2.4.2.3. Rhythm 3 – 2.4.2.4. Rhythm 4 – 2.4.2.5. Rhythm 5

2.5. Generating Musical Material – 2.5.1. Generating vs. Processing –
2.5.2. Make-OMN –
2.5.2.1. Example 1 – 2.5.2.2. Example 2 –

2.6. Generating Lengths and Pitches – 2.6.1. Generating Lengths – 2.6.2. Generating Pitches

2.7. Chord Progressions –
2.7.1. Chords to Melody –
2.7.2. Generating and Processing Chords

2.8. Tonality

2.9. Noise and the Acoustic Spectrum –
2.9.1. Obtain Lengths, Pitches and Velocities from Noise –
2.9.2. Spectral Music –
2.9.3. Working with Partials –

2.10. Advanced Examples –
2.10.1. Wave –
2.10.2. Maderna

2.11. MIDI Entry

3. INDEX OF SYSTEM FUNCTIONS
4. INDEX OF ATTRIBUTES  

BIBLIOGRAPHY 

  1. Garagestudio

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