The creative process in Traiettoria: An account of the genesis of marco stroppa's musical thought

Contemporary Music Review

Volumn 30, Issue 5, 2011, Pages 377-409

  Tiffon, Vincent ^a   Sprenger Ohana, Noémie ^a  

^a NONE

Author keywords

Computer Science; Creativity; Marco Stroppa; Mixed Music; Music Cognition; Music Computing; Music Technology; Piano; Psychoacoustics; Sketches Studies; Spectrum; Synthesis

Indexed keywords

EID: 84860672823     PISSN: 07494467     EISSN: 14772256     Source Type: Journal    
DOI: 10.1080/07494467.2011.665580     Document Type: Review

References (55)

1. Abelson, H. & Sussman, G. J. (1985). Structure and interpretation of computer programs. Cambridge, MA: MIT Press.
2. Anderson, J. (1988). Dans le contexte. Revue Entretemps, 8, 13-23.
3. Anderson, J. (2000). A provisional history of spectral music. Contemporary Music Review, 19(2), 7-22.
4. Changeux, J. P. (1983). L'homme neuronal. Paris: Fayard.
5. English edition (1985); Neuronal man, the biology of mind. New York: Pantheon Books.
6. Chowning, J. (1973). The synthesis of complex audio spectra by means of frequency modulation. Journal of the Audio Engineering Society, 21, 526-534.
7. Courtot, F. (1992). Carla: knowledge acquisition and induction for computer. Interface, 1(3-4), 191-217.
8. Dufourt, H. (1991). Musique spectrale. Musique, pouvoir, écriture. Paris: Christian Bourgeois (original work published 1979).
9. ́́ Grisey, G. (2008). Ecrits, ou l'invention de la musique spectrale. G. Lelong (Ed.). Paris: Editions MF.
10. Hautbois, X. (2000). L'Unité musicale sous l'angle de l'harmonique et de l'organique: recherche d'une esthétique comparée avec les sciences physiques. PhD, EHESS, M. Battier (dir.), Paris.
11. Heit, E. (1997). Features of similarity and category-based induction. Proceedings of the Interdisciplinary Workshop on Categorization and Similarity (pp. 115-121). University of Edinburgh. Retrieved 2 August 2011 from http://faculty.ucmerced.edu/eheit/simcat.pdf
12. Marcato, S. (2001). La realizzazione dei suoni sintetici in Traiettoria di Marco Stroppa. In Il centro di sonologia computazionale dell'università di Padova. Vent'anni di musica elettronica. Palermo: Centro per le iniziative musicali in Sicilia, 175-189.
13. McAdams, S. & Bregman, A.S. (1979). Hearing musical streams. Computer Music Journal, 3(4), 26-43.
14. McAdams, S. (1984). Spectral fusion, spectral parsing, and the formation of auditory images. PhD dissertation, CCRMA, Stanford University.
15. McAdams, S. (1985). L'image auditive: une métaphore pour la recherche musicale et psychologique sur l'organisation auditive. Rapport IRCAM, 37.
16. McAdams, S. (1986). Fusion spectrale et création d'images auditives. Rapport IRCAM, 40.
17. McAdams, S. (1987). Music: A science of the mind? Contemporary Music Review, 2(1), 1-6.
18. Messiaen, O. (1944, 1966). Technique de mon langage musical. Tome 1: texte; Tome 2: exemples musicaux. Paris: Leduc.
19. Mille, O. & Bourgeois, P. (1991). Musique et sciences: Voyage au centre de l'IRCAM. Paris: La Sept, IRCAM, CNAC, Artline Films.
20. Murail, T. (2005). The revolution of complex sounds. Contemporary Music Review, 24(2), 121-135.
21. French edition: T. Murail (1980). La révolution des sons complexes. Darmstädter Beiträge zur Neuen Musik (pp. 77-92).
22. Mainz: Schott. Monod, J. (1970). Le Hasard et la Nécessité. Essai sur la philosophie naturelle de la biologie modern. Paris: Seuil.
23. Nickerson, R. S., Perkins, D. N. & Smith, E. E. (1985). The teaching of thinking. Hillsdale, NJ: Lawrence Erlbaum Associates.
24. Orcalli, A. (2012). La pensée spectrale. In N. Donin & L. Feneyrou (Eds.), Théories de la composition musicale au XXe siècle. Lyon: Symétrie.
25. Pickles, J. O. (1982). Introduction to the physiology of hearing. London: Academic press.
26. Risset, J.-C. & Mathews, M. (1969). Analysis of instrument tones. Physics Today, 22(2), 23-40.
27. Risset, J.-C. (1975). Musique et informatique. In La musique en projet. (pp. 48-68). Paris: Gallimard.
28. Risset, J.-C. (1978a). Music Acoustics. Rapport IRCAM, 8.
29. Risset, J.-C. (1978b). The Development of Digital techniques. Rapport IRCAM, 9.
30. Risset, J.-C. (1978d). Hauteur et timbre des sons. Rapport IRCAM, 11.
31. Risset, J.-C. & Wessel, D. (1982). Exploration of timbre by analysis and synthesis. In D. Deutsch (Ed.), The psychology of music. San Diego, CA: Academic Press.
32. French edition: Exploration du timbre par analyse et synthèse, In J.-B. Barrière (Ed.) (1991). Le timbre, métaphore pour la composition (pp. 102-131). Paris: Christian Bourgois/IRCAM.
33. Risset, J.-C. (1990). Composer le son: expériences avec l'ordinateur: 1964-1989. Contrechamps, 11, 107-126.
34. Risset, J.-C. (1995). Introductory catalogue of computer synthesized sounds. Reedited: Wergo Computer Music Currents no. 13, 2033-2. (original work published 1969).
35. Risset, J.-C. (1999). Composing in real-time? Contemporary Music Review, 18(3), 31-39.
36. Roederer, J. G. (1979). Introduction to the physics and psychophysics of music (2nd ed.). New York: Springer.
37. Rosch, E. (1978). Principles of categorization. In E. Rosch & B.B. Lloyd (Eds.), Cognition and categorization (pp. 27-48). Hillsdale, NJ: Lawrence Erlbaum Associates.
38. Rosch, E. & Lloyd, B.B. (Eds.) (1978) Cognition and categorization. Hillsdale, NJ: Lawrence Erlbaum Associates.
39. Scelsi, G. & Kanach, S. (2006). Les Anges sont ailleurs . . . . Arles: Actes Sud.
40. Stroppa, M. (1984). The analysis of electronic music. Contemporary Music Review, 1(1), 175-180.
41. French edition: (1984). Sur l'analyse de la musique électronique (pp. 18-93). In L'IRCAM, une pensée musicale. Paris: Editions des Archives Contemporaines.
42. Stroppa, M. (1985). L'Esplorazione e la Manipolazione del Timbro. LIMB Bollettino, 5, La Biennale di Venezia, 35-68.
43. Stroppa, M. (1988). Answers to the questionary for Music Today Quarterly. Music Today Quarterly, 1(2), Tokyo. (Private archives of the composer).
44. Stroppa, M. (1989). Musical Information Organisms: An approach to composition. Contemporary Music Review, 4(1), 131-163.
45. French edition (1989): Les Organismes d'Information Musicale: une approche de la composition. In S. McAdams & I. Deliège (Eds.), La musique et les sciences cognitives (pp. 203-234). Bruxelles: Pierre Mardaga.
46. Stroppa, M. (1991). Un orchestre synthétique: Remarques sur une notation personnelle. In J.-B. Barrière (Ed.), Le timbre, métaphore pour la composition (pp. 48-538). Paris: Bourgois/IRCAM.
47. Stroppa, M. & Cohen-Levinas, D. (1992). Interview with Marco Stroppa (pp. 99-117). In Les Cahiers de l'IRCAM (Recherche et Musique), Composition et Environnement informatiques, 1, IRCAM/Centre Georges Pompidou, Automne 1992.
48. Stroppa M. (2009). Per Alvise Vidolin, ricordo di un incontro lontano. In P. Zavagna (Ed.), 60 dB: la scuola veneziana di musica elettronica: omaggio ad Alvise Vidolin (pp. 139-140). Florence, Italy: Leo S. Olschki.
49. Tversky, A. (1977). Features of similarity. Psychological Review, 84, 327-352.
50. Tversky, A. & Gati I. (1978). Studies of similarity. In E. Rosch & B. B. Lloyd (Eds.), Cognition and categorization (pp. 79-98). Hillsdale, NJ: Lawrence Erlbaum Associates.
51. Wessel, D. (1978). Low dimensional control of musical timbre. Rapport IRCAM, 12.
52. Wessel, D. (1979). Timbre space as a musical control structure. Computer Music Journal, 3(2), 45-52.
53. Wessel, D. & Risset, J.-C. (1979). Les illusions auditives. In Encyclopedia Universalis, 1 (pp. 167-170; 2nd edition: 1983). Paris.
54. M. Battier, P. Bernard & G. Charbonneau (Eds.), Musique et ordinateur (pp. 93-105). Les Ulis: Centre expérimental du spectacle, Université Paris-Sud.
55. Winston, P. H. (1984, 2nd ed.). Artificial intelligence. Menlo Park, CA: Addison-Wesley.