DOI: 10.7256/2453-613X.2021.5.36938

Abstract: The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.  

DOI: 10.7256/2453-613X.2016.4.20994

Abstract: The present publication is a translated article published in Vienna. Its form corresponds with the original publication, copyright rules and the author’s will. However, taking into account the peculiarities of our journal, we have to put footnotes inside the text in parentheses. We’ve kept author’s references to publications. We’ve also kept fonts and text style of the original edition. Karlheinz Essl (born 1960 in Vienna) is an Austrian composer, performer, improvisator and “sound artist”. At the University of Vienna, he studied musicology; in 1989 he defended doctoral dissertation. In 1992–1993 Essl worked for the IRCAM commission in Paris. In 1994 he became a music supervisor of a collection in Klosterneuburg (Vienna). Between 1995 – 2006, he taught algorithmic music at the studio of promising music and media technologies named after an Austrian composer and organist Anton Bruckner in the The Anton Bruckner Private University for Music, Drama and Dance in Linz (Austria). Since 2007 he has been a professor of composition in electroacoustic and experimental music at the University of Music and Performing Arts Vienna. Essl’s work with computers with a focus on algorithmic compositions and music reproduction has had formative influence on his compositional thinking. Essl also works in the field of electronic music, real-time interactive compositions and sound installations. Since the early 1990s he has created various software environments for real-time compositions, which he uses in his live music performances and together with artists from other spheres – choreographers, dancers, artists and poets. In 1998 Essl started designing a computer electronic instrument M @ ZE 2. He uses it as an improvisator in live performances. The publication, which realizes the interdisciplinary method of studying modern electronic music technologies, also contains the results of Essl’s work, who studies and creates electronic and interactive music, composes various music compositions and real-time sound installations. Music works of the composer form from the collisions of ordered, abstract models and original tonal expressive structures. The scientific novelty of the study consists in the fact that the translation of the article fills one of the gaps in Russian scientific literature about the studies of philosophy and aesthetics of music, devoted to the problem of historic development of electroacoustic music as, according to K. Essl, forming, generating and far-reaching musical potential. The paper also contains a detailed description of the composer’s research work with a focus on algorithmic compositions and generative music. 

DOI: 10.7256/2453-613X.2022.3.37797

Abstract: The article considers the possibility of improving the mechanism of work of the author-musicologist with the texts of historical musicology. The purpose of the article is to consider the mechanisms of detecting internal relationships between the elements of a musicological text. The subject of the study is verbal texts of musicology. The object of this article is analytical tools of modern digital technologies for working with texts. The author examines in detail such aspects as the selection and formation of a set of keywords, the definition of the structure of the search for information necessary for research. Particular attention is paid to the internal processes of the musicology laboratory, within which it is not always possible to form a set of key verbal meanings of a prepared study using traditional methods. The author for the first time proposed a methodology for using computer tools for deep text analysis programs in the daily activities of a musicologist-researcher. The scope of the methodology is not limited to the field of music science, it can find solutions in other fields of knowledge. In the course of the research, the practical side of the product implementation is highlighted, the stages of post-processing of a text array are presented in a concise form. At the same time, the problematic "slice" stated in the study turns out to be saturated with other information content, which allows us to further find hidden patterns of development of certain processes, discover new relationships and determine new vectors of scientific research.

DOI: 10.7256/2453-613X.2020.6.33591

Abstract: Nowadays, computer technologies are integrated into all art forms. New artistic directions emerge which are totally based on multimedia (primarily audio-visual) instruments. The question about the role of music art in the new cultural paradigm becomes topical. Based on the example of academic music, the article considers the possibilities of using programming tools for music scores processing into a transcript. The authors consider the possible mathematical model of a piece of music which allows processing the piece of music and getting both an authentic and an experimental version. The authors analyze the set of parameters helping to form a virtual acoustic space corresponding with an artistic concept. The authors demonstrate that academic music transcript modeling using electronic sound synthesis can promote the artistic reinterpretation of the score of the piece of music. The selection of particular timber, performance and spatial parameters during transcribing helps to interpret a composition according to the artistic tasks. The use of virtual instruments also allows creating digital recordings without performing musicians. The article contains the variants of forming a virtual acoustic environment based on the example of a classical piece of music for string quartet: from a “traditional” to an “experimental, differing in musical sources positioning, a set of spatial effects and the parameters of their adjustment.