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    THẠC SĨ 3D-COMPOSER : A SOFTWARE FOR MICRO-COMPOSITION (Một phần mềm cho Micro-thành phần)

    Ác Niệm Ác Niệm Đang Ngoại tuyến (3588 tài liệu)
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  6. 3D-COMPOSER : A SOFTWARE FOR MICRO-COMPOSITION (Một phần mềm cho Micro-thành phần)

    Abstract

    The aim of this compositional research project is to find new paradigms of expression and rep- resentation of musical information, supported by technology.This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical in- formation within a multi-dimensional environment.

    The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework.

    The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical cre- ation. The author establishes theoretical ramifications and suggests a definition for micrcomposition.

    The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musi- cal structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formali- sation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

    Statement of originality
    Abstract
    Acknowledgements
    List of Figures
    List of Tables

    Chapter 1 Introduction

    1.1 General aims and background. . .

    1.2 Description of analytical notes and portfolio.

    Chapter 2 Confluence of techné and musical thought

    2.1 Context.

    2.1.1 Emergence of a methodology. .

    2.2 A historical platform for innovation .

    2.2.1 Deconstruction of a system. .

    2.2.2 Towards technological integration

    2.2.3 Composers and machines .

    2.2.4 Technological rate of change .

    2.3 Theoretical approach

    2.3.1 Innovation. .
    2.3.2 Representation .

    2.3.3 Communication .

    2.3.4 Summary of definitions

    Chapter 3 Geometric properties of micro-composition

    3.1 Introduction.

    3.1.1 Establishing a conceptual framework for the compositional process .

    3.1.2 The notion of space

    3.1.3 Taxonomy of space.

    3.1.4 New trends for innovation. .

    3.2 Representing music with geometry

    3.2.1 Projective geometry

    3.2.2 Elements of micro-composition. .

    3.2.3 Motivic abstraction.

    3.2.4 Visual representation of musical concepts

    3.3 Software: 3D-Composer .

    3.3.1 Defining micro-composition .

    3.3.2 User interface.

    3.3.3 Graph theoretical approach.

    3.3.4 Musical applications and electroacoustic considerations.

    Chapter 4 Composition portfolio

    4.1 Six electroacoustic studies.

    4.1.1 Study No.1
    4.1.2 Study No.2

    4.1.3 Study No.3

    4.1.4 Study No.4 .

    4.1.5 Study No.5
    4.1.6 Study No.6 .

    4.2 Electroacoustic composition: Dada 2009

    4.3 System requirements.

    Chapter 5 Conclusion
    5.1 Future directions

    5.2 Concluding remarks .

    Bibliography

    Appendix A

    A.1 Python script for 3D rotation of micro-composition

    Appendix B
    B.1 Listing of possible configurations for selected directed graphs.

    Appendix C

    C.1 A topography of the interdisciplinary nature of music technology.

    Appendix D

    D.1 Development of electronic music in Ukraine: emergence of a research methodology

    Appendix E

    E.1 3D-Composer Software Instructions - Read Me file

    Appendix F

    F.1 JazzMutant Lemur multi-touch control set up.

    Appendix:G
    G.1 Installer CD: 3D-Composer Software Installer - CD No. 1

    G.1.1 3D-Composer Installer.dmg .

    G.1.2 Python-2.5-macosx.dmg .

    G.1.3 ReadMe.pdf.

    Appendix:H
    H.1 Audio CD Tracks: Composition Portfolio - CD No.2

    H.1.1 Six Electroacoustic Studies

    H.1.2 Electroacoustic Composition

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