MUSICAL SYMBOLISM IN THE AGE OF SIMULATION

The article highlights the modern view of musical art in the context of the development of information and communication technologies, which form the perception of art in the context of virtual interpretation. The relevance of the study is based on the prerequisites of the modern development of information and innovation society. There is a need for the perception of information in the context of virtual space in the context of the twentieth century. This trend changes approaches to human activities in different spheres of life, including artistic. This article shows the basic principles of virtual reality formation in the context of creating a space for the manifestation of musical art. The basic principles of perception of new artistic media in virtualization and digitalization are defined, and aspects of musical art reproduction are analyzed. This study shows the transformation of real life into virtual simple, which contributes to the spatio-temporal thinking of man and interprets the cultural achievements of human activity throughout the historical development. The article presents theoretical and methodological approaches to the analysis of musical art. The reflexion of the temporal phenomenon of cultural stratification and in-depth analysis of modern digital transformation in the context of virtual space formation is defined. Music discourse is analyzed in the context of cultural dynamics in the direction of the virtual world creation. The methods of analysis and synthesis, the research method and the method of discourse analysis were applied to study the virtualization of the musical environment. This study provided a basis for reflecting the effectiveness of the virtual environment for music art.

Comunicar. DOI: 10.3916/C38-2011-03-09 , 2012

"Sites for representing music have been classified by the equipollence between their expressive value and transmission value. In this dialectic game, the media have had a determining influence as an intervening space, from music imagined on the radio to its visual representation on a screen to today’s multimodal display created through the integration of current existing media that expand music’s potential both in terms of production and consumption. An interest in ‘cross-media’ is the basis for this research which focuses on its most integrated and interactive aspect: immersive worlds. The aim is to classify the environments of immersive worlds through analyzing those most used as spaces for musical representation. Documentary research techniques have been used in order to obtain: a) a census of current immersive musical environments, and b) a functional analysis of important cases. Through this analysis, various proposals are made for uses for immersive worlds, from both a technical perspective as well as from their potential as an interactive medium. In the conclusion, the possibilities for musical representation offered by these metaverses are assessed and possible future scenarios are discussed. "

Comunicar, 2012

Sites for representing music have been classified by the equipollence between their expressive value and transmission value. In this dialectic game, the media have had a determining influence as an intervening space, from music imagined on the radio to its visual representation on a screen to today's multimodal display created through the integration of current existing media that expand music's potential both in terms of production and consumption. An interest in 'cross-media' is the basis for this research which focuses on its most integrated and interactive aspect: immersive worlds. The aim is to classify the environments of immersive worlds through analyzing those most used as spaces for musical representation. Documentary research techniques have been used in order to obtain: a census of current immersive musical environments, and a functional analysis of important cases. Through this analysis, various proposals are made for uses for immersive worlds, from both a technical perspective as well as from their potential as an interactive medium. In the conclusion, the possibilities for musical representation offered by these metaverses are assessed and possible future scenarios are discussed. ABSTRACT (Spanish) Los lugares de representación de la música han estado definidos por la equipolencia entre su valor expresivo y su valor de transmisión. En este juego dialéctico comunicativo, los medios de comunicación han jugado un peso determinante como espacios mediados: desde una ensoñación musical radiofónica a una visualización de la representación de la música en la pantalla hasta llegar a una exposición multimodal merced a la integración de los medios existentes en la actualidad en donde la música se ha visto amplificada tanto desde su actividad productiva como desde su consumo. Es precisamente en este «cruce de medios» donde surge el interés de esta investigación y, en concreto, en su extensión más integradora e interactiva: los mundos inmersivos. Como objetivo, se pretende realizar la caracterización de los entornos inmersivos musicales a partir del análisis de los más utilizados como espacio de representación. La técnica documental ha sido el método usado con el fin de obtener un registro censal de los espacios inmersivos musicales actuales y un análisis funcional de casos significativos. A partir de este análisis se exponen diversas posibilidades de aplicación de los entornos inmersivos tanto desde un punto de vista técnico como desde su capacidad como medio interactivo. Como conclusión, se lleva a cabo una evaluación acerca de la oportunidad que estos metaversos ofrecen a la representación musical en la que, en forma de discusión, se plantean nuevos escenarios futuros.

Comunicar

La música en los mundos inmersivos. Estudio sobre los espacios de representación v Dr. Felipe Gértrudix-Barrio is Contracted Professor of the Department of the Didactics of Musical at the Faculty of Education of Toledo of the University of Castilla-La Mancha (Spain) ([email protected]). v Dr. Manuel Gértrudix-Barrio is Associate Professor of the Department of Communication Sciences at the Faculty of Communication Sciences of the University Rey Juan Carlos (Spain) ([email protected]).

This dissertation analyzes how Contemporary music for audiovisual media integrates with the concept of Hyperreality, as defined by Jean Baudrillard. The study begins with a philosophical investigation for the ontology of the concept of hyperreality, integrating Baudrillard’s philosophical thought with McLuhan’s theory of media. Further, it discusses the ontology of cinema and music in relationship to hyperreality, with special emphasis to digital cinema. As an art born in the twentieth century, cinema has a integral relationship with the hyperreal. In this context, I define the Hyperorchestra, a virtual music ensemble that inhabits in hyperreality, product of the process of virtualization of the musical experience that started with the audio recording. I describe how this newly defined ensemble combines traditional live instrumental techniques with the utilization of Sample Libraries and Synthesizers, in addition to recording techniques and sound processors, to generate music that transcends both the framework established by Western musical traditions and what can be achieved just by physical means. The second part of the dissertation is analytical. First, it describes one of the key new tools for the Hyperorchestra: the Sample Libraries and MIDI, which acts as an interface that surpasses traditional music notation. The section continues by analyzing the musical scores in Contemporary movies that highlight the utilization of diverse Hyperorchestral techniques. The final part of the study focuses on the aesthetics of the new ensemble. It defines new frameworks that aim to model the music experience when transported to hyperreality. Moreover, it defines Hyperinstruments, the hyperreal counterpart of the physical musical instruments. Finally, the study centers in Hyperorchestration, which defines the new set of tools and techniques associated with writing music for the Hyperorchestra. With these new tools, the Hyperorchestra is afforded the power to generate music that utilizes the whole sound spectrum, closing the gap between music composition and sound design, at the same time that it becomes a powerful tool for the transmission of meaning.

Tehnologii informatice şi de comunicaţie în domeniul muzical, 2024

The article explores the intersection between electronic music and theatre starting from the show Six characters in search of an author directed by Anca Bradu. Analysing the theories of Roland Barthes and Glenn Gould, this study discusses the influence of technology on music and the concept of author. We investigate the concepts of simulacrum and hyperreality in the context of Luigi Pirandello's play and the context of electronic music, highlighting parallels between characters and the virtual instruments. We detail the musical and theatrical aspects of the show, including the performance of the actors and the representation of the characters by means of musical instruments. We also examine semiotic and linguistic aspects, such as the wordplay and the text's deconstruction. On the whole, this article offers a complete and detailed analysis of the interaction between music, theatre, technology, and semiotics, stressing the importance and the complexity of these connections.

Временник зубовского института, № 1 (20), 2018

Maxim Karpets: «The «organum» for virtual values formation: a phonographic metaphora upon the creative artistical scene» The progression of science and the arts nowadays has been largely influenced our understanding of the universum around us, and been formed a novel instrumentarium, including a virtual "organum" for its comprehension. In this context, virtuality could act as a new ontological hypothesis of artistic reality. Moreover, the tendencies of virtualization of artistic phonographic contexture can be considered as a specific characteristic of an aesthetical landscape, which in its evolution, gradually departing from such original basic values inherent in it as the orderliness of the whole system, the immanence of the means and mechanisms for its functioning, the idea of the presuppositional unpreconditional givenness of artistic creativity as a phenomenon itself.

Disembody 1.2: Embodying expendable bodies in virtual reality environments The contemporary 'body, either as a theoretical notion or as a physical and emotional construction, is not the same as a century ago, not even as it was twenty or ten years ago. A dime a dozen terms and affirmations have been used to comment on the new interdisciplinary accounts of this subject, such as the hyper-real,

NEW PARADIGMS FOR MUSIC RESEARCH: Art, Society and Technology, 2022

This chapter presents the concept of hypermusic, which is in- tended as a concrete tool for the generation of new musical practices and for the exploration of fertile encounters between music, art, and philosophy. Hypermusic happens at the intersection of two realities: the actually sound- ing configuration of sonic events (what one usually labels as “music”), and the virtual aesthetico-epistemic constellation of texts, images, ideas, cultur- al references, and further non-musical components that are integral part of musical works, even if not explicitly conveyed in their performances. Hy- permusic might refer to compositions, performances, installations, or oth- er modes of musical expression, including digital objects. Moving beyond strict disciplinary divisions and media compartmentations, the concept of hypermusic instigates new musical practices that respond to the conditions and affordances of contemporary society, opening up the artistic and con- ceptual horizon towards expanded fields of activity and expression.

Virtual Works - Actual Things addresses contemporary music ontological discourses, challenging dominant musicological accounts, questioning their authoritative foundation, and moving towards dynamic perspectives devised by music practitioners and artist researchers. Specific attention is given to the relationship between the virtual multiplicities that enable the construction of an image of a musical work, and the actual, concrete materials that make such a construction possible. With contributions by prominent scholars, this book is a wide-ranging and fascinating collection of essays, which will be of great interest for artistic research, contemporary musicology, music philosophy, performance studies, and music pedagogy alike. Paulo de Assis is a researcher affiliated with the Orpheus Institute of Ghent. He is an experimental performer, pianist, and music philosopher, with transdisciplinary interests in composition, philosophy, psychoanalysis and epistemology. Contributors: David Davies (McGill University, Montreal), Andreas Dorschel (University of the Arts Graz), Lydia Goehr (Columbia University, New York), Kathy Kiloh (OCAD University, Toronto), Jake McNulty (Columbia University, New York), Gunnar Hindrichs (University of Basel), John Rink (University of Cambridge)