Collective composition: the case of Edison Studio

Cipriani, Alessandro; Ciardi, Fabio Cifariello; Ceccarelli, Luigi

doi:10.1017/s1355771804000457

Cited by 3 publications

(4 citation statements)

References 2 publications

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“…The studio is not just a technical space with audio gear but a center for people to exchange knowledge and experience with machines. Cipriani et al (2004) share a similar experience: "Each time we have worked together as a group, we have learned much more than when working individually." Sharing makes a substantial impact on the process of making music through the collaborative compositional experience, manipulation of equipment, and the design of space.…”

Section: Final Considerationsmentioning

confidence: 99%

Mapping Out the Origins of Electroacoustic Music Studios in Brazil

Ribeiro

Thomasi

2022

Computer Music Journal

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This research presents a mapping out of the Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand “music studios” as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers, and investigated a a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra (make do, workaround), a sort of Brazilian DIY culture.

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Section: Final Considerationsmentioning

confidence: 99%

Mapping Out the Origins of Electroacoustic Music Studios in Brazil

Ribeiro

Thomasi

2022

Computer Music Journal

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“…The use of connotation in music, ranges from direct citation to complex and refined practices used not only for purely expressive purposes, but also in contexts such as those of sound design (Back 1996) and applied music (Cipriani, Cifariello Ciardi, Cardi and Ceccarelli 2004) and for declared political aims (Metzer 2003). The compositional use of connoted sonic events can be partially equated with musical borrowing, which has always been widespread in very many kinds of music.…”

Section: Local/global Connotation As a Compositional Parametermentioning

confidence: 99%

“…In citation and integration the detection of the connoted components of a sonic object makes it possible to apprehend the semantic distance between the citation and the sonic material around it. In translation, however, the extraction of the semantic properties is intended to clarify the function that binds a set of semantically connoted properties to a certain sonic material -for example, the translation of the inflections and the rhythm of a voice onto sonic objects characterised by timbres of an instrumental origin, if perceived, has the function of a semantic qualifier which is able to confer a quality of speech to the musical material (Cipriani et al 2004). In other words, citation and integration are successful from a cognitive point of view if they contribute towards separating the connoted elements from the other elements semantically and, therefore, perceptively (Cifariello Ciardi 1997); vice versa, translation is effective in so far as it makes it possible to merge a connoted attribute with a sonic event possessing a different connotation.…”

Section: Translationmentioning

confidence: 99%

Local and Global Connotations in Sonic Composition

Ciardi¹

2008

Org. Sound

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An aspect of the local/global binarism in music regards the cultural identity of the sounds, musical styles and grammars of a composition. This article intends to explore the role of the local/global issue in the context of the semantic dimension of sounds, both during the composition of a musical piece and during its reception.In the first part of the article the local or global identity of a sonic event will be examined from two different perspectives: on the one hand that of the composer, starting from his or her attitudes with regard to the semantic aspects of the sonic material and the compositional processes used; on the other hand that of the listener, starting from the cognitive processes (s)he activates in the search for a musical and an extramusical meaning. Based on this analysis, in the second part of the article the usefulness of describing the cultural identity of a sonic event and more generally its semantic dimensions in terms of ‘shared connotations’ will be explored. Finally, some of the interactions between connoted sonic events will be analysed, mainly focusing on global and local cultural identities.

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“…Such examples are worth examining in more detail, but the focus here is notated, instrumental practice within contemporary classical music; the domain in which the authors primarily operate 1 . Cipriani et al (2004) describe the collaboration between four composers at Edison Studio working on the soundtrack for two silent movies. The authors are concerned with how individuals with the same roles and skills can work together (262), describing a process of interconnected composition in which all composers worked on every sequence and every frame.…”

Section: Introductionmentioning

confidence: 99%

Composer-composer collaboration and the difficulty of intradisciplinarity

Scheuregger¹,

Efthymiou²

2020

airea

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Research and practice involving parties from different disciplines is of increasing importance in many fields. In the arts, this has manifested itself in both increasing attention on established collaborative partnerships – composers, for example, collaborating with writers, choreographers and directors – and a move towards more overtly cross-, multi-, inter- and/or trans-disciplinary forms of working – a composer working with a physicist, philosopher or psychologist. Composer-composer partnerships are far less common, meaning intradisciplinary collaboration is little explored in relation to practice research in music. This article takes the collaborative music theatre composition I only know I am (2019) created by the authors – Litha Eftythmiou and Martin Scheuregger – as a case study, outlining the issues and opportunities that arise through combining two compositional practices in an effort to create a single artistic output. Ways in which the composers managed this process are detailed in the context of communication, technology, and the issue of tacit knowledge (of both individual compositional process and the working of intradisciplinary collaboration). In particular, reflections on their experience during a week-long residency, in which they collaborated on a single musical work, is discussed in order to understand to what extent two aesthetic approaches can be reconciled to create work satisfactory to both parties. Notions of composition as an inherently collaborative process are used to contextualise the means by which composer-composer collaborations might be understood. The authors reflect on an understanding of intradisciplinarity in the context of their practice as composers in order to draw conclusions that will allow them, and others, to approach composer-composer collaboration in an informed manner.

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Collective composition: the case of Edison Studio

Cited by 3 publications

References 2 publications

Mapping Out the Origins of Electroacoustic Music Studios in Brazil

Mapping Out the Origins of Electroacoustic Music Studios in Brazil

Local and Global Connotations in Sonic Composition

Composer-composer collaboration and the difficulty of intradisciplinarity

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