Sustainability of &amp;#x2018;live electronic&amp;#x2019; music in the Integra project

Bullock, Jamie; Frisk, Henrik; Coccioli, Lamberto

doi:10.1109/melcon.2008.4618431

Cited by 4 publications

(4 citation statements)

References 3 publications

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“…These approaches can be applied to the domain of artistic production with technological frameworks such as the one proposed by Bardiot et al (2014) for digital performances. In this perspective, documentation processes and production processes are integrated into the same framework, similarly to the Integra Live software tool for contemporary music creation, performance and preservation (Bullock et al 2008). Bardiot et al's tool manages successive versions of the technological framework used by artists and technicians during the production process and proposes several functionalities to access, deploy and build on these different versions.…”

Section: Information Science Representation and The Creative Processmentioning

confidence: 99%

Cultural Heritage, Information Science, and the Creative Process

Boutard

Guastavino

2018

The Oxford Handbook of the Creative Process in Music

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The creative process has recently garnered research attention in the field of information science. Multiple authors have proposed original research directions and methods relating to the creative process with the goals of preserving, curating, and disseminating cultural heritage. This body of research provides empirical grounds for the development of better tools for artistic practice and, at a theoretical level, brings another interdisciplinary perspective on the creative process. The field of information science investigates the creative process through the lens of different theoretical frameworks, stemming notably from psychology, sociology, and linguistics. Research areas include empirical studies on music information–seeking behavior, creative process modeling, digital humanities projects for repertoire analysis, performance documentation methodologies, preservation frameworks, and theoretical investigations of the relationship between creative processes and archival documents. Together, these studies provide new insights into the field of information science by re-examining established categories of inquiry, as well as methodologies and ontologies pertaining to the field. The relationship between cultural heritage, information science, and the creative process highlights the singularity of the creative process as an object of research and provides a new critical perspective on the domains within which it is being investigated.

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Section: Information Science Representation and The Creative Processmentioning

confidence: 99%

Cultural Heritage, Information Science, and the Creative Process

Boutard

Guastavino

2018

The Oxford Handbook of the Creative Process in Music

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“…Integra was a project hosted by Birmingham Conservatoire and funded by the EU, and its initial ambition was to document electronic musical works in a sustainable manner addressing the question of how to avoid that obsolete technology used in these works render them unplayable. [5,3,2] The method employed in Integra was to collect works from several of the project partner countries and render generic and technology agnostic descriptions of these pieces. In addition, documented software that could be used in order to perform them would also be developed.…”

Section: Introductionmentioning

confidence: 99%

“…classes [4,5]. These were to some extent influenced by the work done in the large European MUSTICA project [1].…”

Section: Introductionmentioning

confidence: 99%

ArtDoc - An Experimental Archive and a Tool for Artistic Research

Frisk

2018

Music Technology With Swing

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ArtDoc is an experimental database and archive for primarily documentation of artistic content. It attempts to address the question of the difficulty of documenting artistic practice in a manner that makes visible the processes in action. The background to this project is discussed and the theory behind the development of open works. Though ArtDoc is still under construction the foundation of the archive is presented. Finally some thoughts on the future of digital documentation systems is discussed.

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“…E, mesmo não tendo competência para avaliar a relevância e coerência do quadro que apresentamos acima (Fig. 1), parece que Jamie Bullock (2008) aponta, com base nos desenvolvimentos das análises de áudio, uma diferença ou passagem da percepção estética e musical (não temos certeza) que vai da forma sonora à forma musical e vice-versa. 42 Em nossa defesa de doutorado, José Henrique Padovani comenta que pode ser mais objetivo dizer que "cada um dos níveis é correlacionado a uma determinada estratégia técnica de análise e processamento de sinais visando a extração de dados quantitativos".…”

Section: Os Sentidos Na Músicaunclassified

Por uma enunciação musical: a profundidade tensiva e as espessuras da presença

Bonin¹

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Agradeço aos professores e pesquisadores que fizeram parte deste grande ciclo de pesquisa. Agradeço a meu orientador Silvio Ferraz por oferecer uma abertura sempre muito generosa para a investida interdisciplinar que se deu neste trabalho. A Diana Luz Pessoa de Barros e José Henrique Padovani pelas ricas contribuições na etapa de qualificação do doutorado. À gentiliza da leitura e à presença dos membros que compõem a banca de defesa, Rogério Costa, José Henrique Padovani, Ivã Carlos Lopes e Verónica Estay-Stange.Agradeço aos amigos que me ajudaram ativamente no percurso do doutorado. A Rodrigo Borges pela parceria nas composições e nas análises de áudio; a Thiérry Barbot por ter me ajudado a comprar os livros de Gisèle Brelet na França; a Marcelo Barbosa, pelas conversas sobre Bergson e a duração; a Micael Antunes pelas conversas sobre música, áudio e pelas composições compartilhadas neste período; a Camille Laurent pelas criações feitas em parceria; a Juliana di Fiori Pondian pelas composições compartilhadas e pela ajuda nas ideias de impressão dos livros da tese; a Rafael Leite pelas ajudas na secretaria do CMU-USP.Agradeço à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP -Processo 2020/02326-4) pelo financiamento de pesquisa, sem o qual não seria possível a dedicação necessária ao trabalho do doutorado.Agradeço aos companheiros de vida: aos da família e aos amigos de longa data, aos meus pais Silvia e Max, às minhas irmãs, Marina, Lara e Vitória, a Gabriela Bruel e família Bruel, a Guilherme Raggi. aos amigos do Capim Novo e aos professores de música, a

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Sustainability of ‘live electronic’ music in the Integra project

Cited by 4 publications

References 3 publications

Cultural Heritage, Information Science, and the Creative Process

Cultural Heritage, Information Science, and the Creative Process

ArtDoc - An Experimental Archive and a Tool for Artistic Research

Por uma enunciação musical: a profundidade tensiva e as espessuras da presença

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