Electronic dramaturgy and computer-aided composition in Re Orso (original) (raw)
Related papers
Classical music has resisted incorporating music technologies into its mainstream compositional practices, in part because technology allows greater access to the techniques and timbres associated with virtuosic human acoustic performance. However, classical music composition and production can be enabled by music technologies, and they offer an effective vehicle for women to test and occupy the role of composer, performer and producer. This paper outlines how home-studio music production technologies were used to compose and stage The Pomegranate Cycle (2010, 2013). The Pomegranate Cycle was composed, recorded, performed and produced by a female opera singer using consumer-level recording technologies. This self-directed methodology is unique in opera, providing a model for other singer-composers.
Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion, 2018
Despite of its long history, opera as an art form is constantly evolving. Composers have never lost their fascination about it and keep exploring with innovative aesthetics, techniques, and modes of expression. New technologies, such as Virtual Reality (VR), Robotics and Artificial Intelligence (AI) are steadily having an impact upon the world of opera. The evolving use of performance-based software such as Ableton Live and Max/MSP has created new and exciting compositional techniques that intertwine theatrical and musical performance. This paper presents some initial work on the development of an opera using such technologies that is being composed by Kallionpää and Chamberlain. Furthermore, it presents two composition case studies by Kallionpää: "She" (2017) and puppet opera "Croak" (2018), as well as their documentation within the world's first 360° 3D VR recordings with full spatial audio in third-order Ambisonics and the application of an unmixing paradi...
Orfeo, Osmin and Otello: towards a theory of opera analysis
Studi Musicali, 2004
The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true phoenix....If we composers were always to stick so faithfully to our rules... we should be concocting music as unpalatable as their libretti...
2018
Opening Opera explores creative collaboration and dramatic improvisation in new music-dramas. Looking towards the art of improvised theatre, the aim is to achieve a dramatic process in opera which facilitates a flexible kind of dramaturgy, enabling singers and directors to lead and inform certain creative processes that are normally in the hands of the operatic composer and/or librettist alone. By developing particular unorthodox scoring methods, along with specific rehearsal schedule considerations that support these flexible processes, the composer attempts to create not improvised opera, but what could be called an open opera, where the compositional focus is working with a free vocal line with active accompaniment. This framework is one in which the composer provides the parameters and material for dramatic and compositional flexibility, and then ‘takes a step back’ during a collaborative and improvisational process, whilst retaining sufficient leadership and creative authority ...
It is perfectly obvious that opera is a particular form of theater: a particular form, that is, of stage action. Not so obvious is how to identify the elements that generate drama in an opera: to precisely describe operatic dramaturgy. This is evidenced by the inconclusive debate that has recurred throughout the history of music (Di Benedetto 1988). This chapter relates to an epistemological study of the ways in which operatic dramaturgy has been analyzed; more specifically, to a comparison of two schools of thought. According to one of these, the drama stems from the verbal text; according to the other, it originates in the musical elements. To avoid any ambiguity, the phrase " musical dramaturgy " will be understood here in its etymological sense of the " production (ἔργον) of theatrical action (δρᾶμα) through music. " In that sense, musical dramaturgy is a sub-category of poetics. This definition is narrower than the generic " study of opera " seen in many university courses, but it covers more ground than theories of musical dramaturgy such as the one that Carl Dahlhaus strove to forge in the 1980s.
Realtime Performance Strategies for the Electronic Opera K…
With K…, Philippe Manoury has created a large-scale opera that effectively combines realtime electronics with operatic singers and full orchestra. The commitment to this process is due to the composer's belief that a realtime interactive system is the best method for integrating electronics and acoustic music without losing expressivity. This presentation will investigate the coordination of the composer, technicians, musicians, software, and hardware prerequisite to the realization of this opera.
2020
This research project examines the technical, physical and pedagogical challenges that opera singers face in relation to the use of interactive audio processing technology in opera. It investigates acoustic and aesthetic conflicts between opera and electroacoustic music, explores reasons why opera singers have been slower than classically trained instrumentalists to embrace new technologies, and asks what types of sound design and interactive systems might reduce some of the barriers opera singers encounter in relation to the innovations of the digital revolution. The primary question driving this research is the following: What technical and aesthetic issues need to be addressed so that opera singers can incorporate the use of audio processing technology and improvisation in their performance practice?
Algorithmic Composition with Open Music and Csound: two examples
2019
In this paper, after a concise and not exhaustive review about GUI software related to Csound, and brief notes about Algorithmic Composition, two examples of Open Music patches will be illustrated, taken from the pre-compositive work in some author’s compositions. These patches are utilized for sound generation and spatialization using Csound as synthesis engine. Very specific and thorough Csound programming examples will be not discussed here, even if automatically generated .csd file examples will be showed, nor will it be possible to explain in detail Open Music patches; however we retain that what will be described can stimulate the reader towards further deepening.