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| 100 | 1 | _ | |a Burle, Jan |0 P:(DE-Juel1)168364 |b 0 |e Corresponding author |u fzj |
| 111 | 2 | _ | |a Utopian Listening - the Late Electroacoustic Music of Luigi Nono; Technologies, Aesthetics, Histories, Futures |c Medford MA |d 2016-03-23 - 2016-03-26 |w USA |
| 245 | _ | _ | |a A spectral examination of a performance of Luigi Nono’s A Pierre, dell’azzurro silenzio, inquietum (1985) for contrabass flute, contrabass clarinet and live electronics |
| 260 | _ | _ | |c 2016 |
| 336 | 7 | _ | |a Conference Paper |0 33 |2 EndNote |
| 336 | 7 | _ | |a Other |2 DataCite |
| 336 | 7 | _ | |a INPROCEEDINGS |2 BibTeX |
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| 502 | _ | _ | |c Tufts University |
| 520 | _ | _ | |a Special Session: A spectral examination of a performance of Luigi Nono’s A Pierre, dell’azzurro silenzio, inquietum (1985) for contrabass flute, contrabass clarinet and live electronicsJan Burle (as Ian Burleigh) & Friedemann SallisIn separate papers, given back-to-back, we explain how data was harvested from a recording of a performance (February 2009) of Luigi Nono’s A Pierre, dell’azzurro silenzio, inquietum and how the data was transcribed, resulting in a visual image of the concert performance. The image represents the performance, not the work per se. Other performances would produce different data that would result in different images, though we assume that good performances would result in comparable images. Nevertheless, our transcription provides information about A Pierre that, until now, was only available to the composer and his collaborators involved in the creative process and to performers after they had rehearsed and performed the work. Following a presentation of the data capture and transcription techniques, which could be applied to any number of live electronic works that cannot be set in conventional notation, we present an interpretation of the form and content of the musical performance. Together our papers examine the performance practice of Nono’s late works and the impact of electronic technology on them, the role of the published score, and analytical issues that arise in attempting to come to terms with this music. In so doing, we also touch on Nono’s creative process and the work concept that underlay the composition of A Pierre. |
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| 700 | 1 | _ | |a Sallis, Friedemann |0 P:(DE-HGF)0 |b 1 |e Corresponding author |
| 856 | 4 | _ | |u https://music.fas.harvard.edu/program_book.pdf |
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