Two methods for the reinstrumentation of timbre-based music

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51110%2F24%3AN0000151" target="_blank" >RIV/61384984:51110/24:N0000151 - isvavai.cz</a>

Výsledek na webu

<a href="https://ziva-hudba.info/two-methods-for-the-reinstrumentation-of-timbre-based-music/" target="_blank" >https://ziva-hudba.info/two-methods-for-the-reinstrumentation-of-timbre-based-music/</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Two methods for the reinstrumentation of timbre-based music

Popis výsledku v původním jazyce

This article proposes two preliminary practical models when reinstrumenting timbre-based music for a different acoustic instrumental setup for use by composers. I apply these methods to an excerpt of my music which relies on timbral structuring. This shows how reinstrumentations of timbre-based music need to differ from reinstrumentations of pitch-based music which may transfer sounds by octaves and otherwise retain pitch structure yet have not systematically transferred timbre. Timbre-based reinstrumentation requires diligent study of what the timbres are in a piece in which determinate pitch material might be absent or structurally irrelevant. Much timbre-based music has abandoned the structuring power of pitch organisation in favour of smoothly structuring the gradations of timbre itself. The continuum between pitch and noise, which can be quantified with various spectrotemporal descriptors, is of particular value in understanding timbre-based structuring in music. Both methods suggest an ethos of reinstrumentation that detaches from mimicking the notation of the original and seeks instead the highest fidelity reproduction of a lis¬tener’s dramaturgical experience of a timbre-based piece. Fidelity includes preserving the original compositional intention, an accu¬rate replication of what sounds will sound in a standard performance, what an average listener’s audition will process from it as the piece’s dramaturgy, and what that experience can evoke in the listener. The first method introduced here to describe the listener’s experienced dramaturgy is based on the degree of noisiness. The second method recognises the likeliest intended chronology of the listener’s expec¬tations, attention, and rewards, as well as the timbral limits of the goal instrumental setup.

Název v anglickém jazyce

Two methods for the reinstrumentation of timbre-based music

Popis výsledku anglicky

This article proposes two preliminary practical models when reinstrumenting timbre-based music for a different acoustic instrumental setup for use by composers. I apply these methods to an excerpt of my music which relies on timbral structuring. This shows how reinstrumentations of timbre-based music need to differ from reinstrumentations of pitch-based music which may transfer sounds by octaves and otherwise retain pitch structure yet have not systematically transferred timbre. Timbre-based reinstrumentation requires diligent study of what the timbres are in a piece in which determinate pitch material might be absent or structurally irrelevant. Much timbre-based music has abandoned the structuring power of pitch organisation in favour of smoothly structuring the gradations of timbre itself. The continuum between pitch and noise, which can be quantified with various spectrotemporal descriptors, is of particular value in understanding timbre-based structuring in music. Both methods suggest an ethos of reinstrumentation that detaches from mimicking the notation of the original and seeks instead the highest fidelity reproduction of a lis¬tener’s dramaturgical experience of a timbre-based piece. Fidelity includes preserving the original compositional intention, an accu¬rate replication of what sounds will sound in a standard performance, what an average listener’s audition will process from it as the piece’s dramaturgy, and what that experience can evoke in the listener. The first method introduced here to describe the listener’s experienced dramaturgy is based on the degree of noisiness. The second method recognises the likeliest intended chronology of the listener’s expec¬tations, attention, and rewards, as well as the timbral limits of the goal instrumental setup.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Živá hudba

ISSN

0514-7735

e-ISSN

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Svazek periodika

2024

Číslo periodika v rámci svazku

15

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

42

Strana od-do

34-75

Kód UT WoS článku

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EID výsledku v databázi Scopus

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