Local and Global Connotations in Sonic Composition

Ciardi, Fabio Cifariello

doi:10.1017/s1355771808000162

Cited by 4 publications

(1 citation statement)

References 27 publications

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“…Importantly, efference differs subtly from reference. Nattiez describes ‘referential modalities’ (1990, p. 102), which function in relation to a horizon of experience as part of a web of symbolic meaning, and Fabio Cifariello Ciardi (2008) explores connotation with a view to understanding the coexistence of original and ‘alien’ material in the same compositional context (pp. 124 and 127).…”

Section: Towards (And Away From) a Poetics Of Timbrementioning

confidence: 99%

Timbre and Non‐radical Didacticism in the Streets' A Grand Don't Come for Free: a Poetic‐Ecological Model

Slater¹

2011

Music Analysis

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This article investigates the status and function of timbre by proposing a poetic‐ecological model, which seeks to encapsulate the intersections between and applications of three theoretical territories: poetics, ecological theory and spectromorphology. The patterned sonic material encountered in the Streets' ‘Blinded by the Lights’, from the 2004 album A Grand Don't Come for Free, is analysed in terms of its capacity to specify a non‐radical didactic identity in line with a didactic impulse inherent in hip‐hop culture, from which this music draws significant influence. Timbre is understood in terms of its capacity to specify identities, both sonic and ‘personic’, as propagated by sound via the specification of sources, however stable or ambiguous. In examining how specific sounds function in this track and what they might mean, the terms ‘proprietary’ and ‘efferent’ are offered to explain the typological groupings of sounds from a range of possible sources (people, objects, technology, records, labels, styles and genres). The establishment of these categorical terms draws upon the ecological paradigm outlined by specification, attunement and contingency (which accounts for the agency of culturally situated producers and perceivers), and the spectromorphological ensemble (which accounts for the detailed characteristics and operations of sounds).

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Section: Towards (And Away From) a Poetics Of Timbrementioning

confidence: 99%

Timbre and Non‐radical Didacticism in the Streets' A Grand Don't Come for Free: a Poetic‐Ecological Model

Slater¹

2011

Music Analysis

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Towards an Ethics of Creative Sound

Andean

2014

Org. Sound

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This article examines some of the ethical issues involved in working creatively with sound. Issues considered include: sound ownership; sound vs. vision as determinations of identity, and their relative iconicity; recorded sound; sound as physical phenomenon vs. sound as symbol; issues of copyright and trademark; community ownership; awareness, sensitivity and responsibility; composer responsibility vs. listener responsibility; the relative importance of contextualisation; and intercultural dialogue. We will conclude with a critique of the cultural and ethical shortcomings of the article itself, and a call for social, cultural and ethical engagement in creative sound work.

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Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology

D’Agostino

2020

Org. Sound

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Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.

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Local and Global Connotations in Sonic Composition

Cited by 4 publications

References 27 publications

Timbre and Non‐radical Didacticism in the Streets' A Grand Don't Come for Free: a Poetic‐Ecological Model

Timbre and Non‐radical Didacticism in the Streets' A Grand Don't Come for Free: a Poetic‐Ecological Model

Towards an Ethics of Creative Sound

Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology

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