The evolution of musical technologies has profoundly transformed compositional practices and sound production over the last century and a half. This thesis, divided into two parts, explores these transformations, focusing on the concept of timbre within the context of contemporary musical production, orchestration, new instrument making, and the role of the computer in composition. In the first part of this work, the historical and theoretical premises of these aspects are analyzed, introducing the concept of timbre and its historical evolution, from Rousseau's definitions to those of McAdams, exploring European and American research and the activities of the ACTOR research group. Theories on timbre in relation to orchestration by Kit Soden and Fabien Levy are examined, used to analyze 20th and 21st-century music with examples from the works of Francesco Filidei, Tristan Murail, and Yan Maresz. The thesis also focuses on new electronic, digital, and electromechanical instrument making, discussing the development of instruments and their applications, and the methodologies for classifying new instrument making, with examples from the work of Andrea Valle and Alessandro Perini. It explores the role of the computer in musical composition, analyzing computational sound manipulation techniques and software such as Orchid*, used for computer-assisted orchestration, with examples from Daniele Ghisi's work. The second part of the thesis applies these theories to the music of Mauro Lanza, reconstructing the historical and cultural context in which the composer operates, his education and influences, and the role of IRCAM in his artistic evolution. Two of Lanza's works are analyzed: ‘Le Nubi non scoppiano per il peso’ for ensemble, rain machine, and electronics, and ‘Systema Naturae’, a collaborative cycle with Andrea Valle for instrumental and electromechanical ensembles. The instrumental setups, computer-assisted composition techniques, and orchestration are examined. In conclusion, this research situates itself within the history of 21st-century compositional forms and techniques, investigating the post-spectral derivations in managing complex sound using the computer as a mediator between artistic thought and musical realization, including new electromechanical instruments to meet artistic needs.
L’evoluzione delle tecnologie musicali ha trasformato profondamente le pratiche compositive e di produzione del suono nell’ultimo secolo e mezzo. Questa tesi, divisa in due parti, esplora tali trasformazioni, concentrandosi sul concetto di timbro nel contesto della produzione musicale contemporanea, orchestrazione, nuova liuteria e il ruolo del computer nella composizione. Nella prima parte si analizzano le premesse storico-teoriche di questi aspetti, introducendo il concetto di timbro e la sua evoluzione storica, dalle definizioni di Rousseau a quelle di McAdams, esplorando le ricerche europee e americane e le attività del gruppo di ricerca ACTOR. Vengono approfondite le teorie sul timbro in relazione all’orchestrazione di Kit Soden e Fabien Levy, utilizzate per analizzare la musica del XX e XXI secolo, con esempi dalla musica di Francesco Filidei, Tristan Murail e Yan Maresz. La tesi si concentra inoltre sulla nuova liuteria elettronica, digitale ed elettromeccanica, discutendo lo sviluppo degli strumenti e le loro applicazioni, e le metodologie di classificazione degli strumenti di nuova liuteria, con esempi dalla produzione di Andrea Valle e Alessandro Perini. Si esplora il ruolo del computer nella composizione musicale, analizzando tecniche computazionali di manipolazione sonora e software come Orchid*, utilizzato per l’orchestrazione assistita al computer, con esempi dalla produzione Daniele Ghisi. La seconda parte della tesi applica queste teorie alla musica di Mauro Lanza, ricostruendo il contesto storico-culturale in cui opera il compositore, la sua formazione e influenze, e il ruolo dell'IRCAM nella sua evoluzione artistica. Vengono analizzati due brani di Lanza: "Le Nubi non scoppiano per il peso" per ensemble, macchina della pioggia ed elettronica, e "Systema Naturae", ciclo collaborativo con Andrea Valle per ensemble strumentali ed elettromeccanici, esaminando gli apparati strumentali, le tecniche di composizione assistita al computer e l’orchestrazione.In conclusione, questa ricerca si inquadra nella storia delle forme e delle tecniche compositive del XXI secolo, investigando le derivazioni post-spettrali nella gestione del suono complesso con il computer come mediatore tra pensiero artistico e realizzazione musicale, includendo strumenti di nuova liuteria elettromeccanica per soddisfare esigenze artistiche.
Tra nubi, codici e circuiti: composizione assistita al computer, nuova liuteria elettromeccanica e orchestrazione funzionale nella musica di Mauro Lanza
GUIDARINI, LUCA
2023/2024
Abstract
The evolution of musical technologies has profoundly transformed compositional practices and sound production over the last century and a half. This thesis, divided into two parts, explores these transformations, focusing on the concept of timbre within the context of contemporary musical production, orchestration, new instrument making, and the role of the computer in composition. In the first part of this work, the historical and theoretical premises of these aspects are analyzed, introducing the concept of timbre and its historical evolution, from Rousseau's definitions to those of McAdams, exploring European and American research and the activities of the ACTOR research group. Theories on timbre in relation to orchestration by Kit Soden and Fabien Levy are examined, used to analyze 20th and 21st-century music with examples from the works of Francesco Filidei, Tristan Murail, and Yan Maresz. The thesis also focuses on new electronic, digital, and electromechanical instrument making, discussing the development of instruments and their applications, and the methodologies for classifying new instrument making, with examples from the work of Andrea Valle and Alessandro Perini. It explores the role of the computer in musical composition, analyzing computational sound manipulation techniques and software such as Orchid*, used for computer-assisted orchestration, with examples from Daniele Ghisi's work. The second part of the thesis applies these theories to the music of Mauro Lanza, reconstructing the historical and cultural context in which the composer operates, his education and influences, and the role of IRCAM in his artistic evolution. Two of Lanza's works are analyzed: ‘Le Nubi non scoppiano per il peso’ for ensemble, rain machine, and electronics, and ‘Systema Naturae’, a collaborative cycle with Andrea Valle for instrumental and electromechanical ensembles. The instrumental setups, computer-assisted composition techniques, and orchestration are examined. In conclusion, this research situates itself within the history of 21st-century compositional forms and techniques, investigating the post-spectral derivations in managing complex sound using the computer as a mediator between artistic thought and musical realization, including new electromechanical instruments to meet artistic needs.| File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.14239/33160