Incontri di fasce sonore by Franco Evangelisti. From the rebuilding to ...
Incontri di fasce sonore by Franco Evangelisti. From the rebuilding to ...
Incontri di fasce sonore by Franco Evangelisti. From the rebuilding to ...
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What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
<strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>.<br />
<strong>From</strong> <strong>the</strong> rebuil<strong>di</strong>ng <strong>to</strong> <strong>the</strong> analysis via<br />
syn<strong>the</strong>sis process<br />
A. Anastasia N. Giosmin<br />
adriana.anastasia@virgilio.it<br />
nicgios@yahoo.it<br />
EMS conference - Leicester, 2007 June 11/15<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
What we have done<br />
Reconstruction of <strong>the</strong> piece “as a technician” (process<br />
based work)<br />
Created a brand new listening score<br />
New analysis<br />
Improved study about <strong>Evangelisti</strong><br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
What we have NOT done<br />
Res<strong>to</strong>ration<br />
Sound study<br />
Problems like reverb<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
His<strong>to</strong>ry<br />
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
His<strong>to</strong>ry<br />
1956-57<br />
WDR Cologne<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The dream (1)<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
<strong>Evangelisti</strong>’s dream<br />
“The problem of <strong>the</strong> creation of <strong>the</strong> score, with explanations<br />
and symbols, is fundamental from an his<strong>to</strong>rical point of view<br />
as proof of our work, due <strong>to</strong> <strong>the</strong> fact that tapes are going <strong>to</strong><br />
deteriorate [. . . ] and only a precise documentation will<br />
allow people <strong>to</strong> obtain something from us and, eventually <strong>to</strong><br />
reconstruct our work.”<br />
<strong>From</strong> AAVV. Interventi. La Biennale, (44-45): p.32, 1961.<br />
“Electricity and au<strong>to</strong>mation are two closely connected<br />
concepts.”<br />
<strong>From</strong> FRANCO EVANGELISTI. Verso una composizione<br />
elettronica. Rappor<strong>to</strong> tra mezzi ed in<strong>di</strong>viduo nel suo tempo.<br />
In “Or<strong>di</strong>ni. Stu<strong>di</strong> sulla nuova musica”, (1): p. 51, 1959.<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The dream (2)<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
<strong>Evangelisti</strong>’s dream<br />
“To obtain certain sound-transformations we should need<br />
various very expensive pieces of apparatus wich would<br />
make it possible <strong>to</strong> do it without <strong>the</strong> human hand.”<br />
<strong>From</strong> FRANCO EVANGELISTI. <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong>.<br />
Universal, 1958 (introduction)<br />
“Much depends on <strong>the</strong> manual dexterity of <strong>the</strong> technician, a<br />
fact that shows us still <strong>to</strong> be far away from genuine<br />
electronic sound-production, electronic in <strong>the</strong> absolute<br />
sense of <strong>the</strong> word.”<br />
<strong>From</strong> FRANCO EVANGELISTI. <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong>.<br />
Universal, 1958 (introduction)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
Texts<br />
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
<strong>Franco</strong> <strong>Evangelisti</strong>, <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong>, Universal,<br />
1958<br />
<strong>Franco</strong> <strong>Evangelisti</strong>, Verso una composizione elettronica.<br />
Rappor<strong>to</strong> tra mezzi ed in<strong>di</strong>viduo nel suo tempo, in “Or<strong>di</strong>ni.<br />
Stu<strong>di</strong> sulla nuova musica”, (1): p. 51, 1959.<br />
<strong>Franco</strong> <strong>Evangelisti</strong>, Dal silenzio a un nuovo mondo sonoro,<br />
Roma, Semar, 1991.<br />
<strong>Franco</strong> <strong>Evangelisti</strong>, Intervention, in Interventi, La Biennale,<br />
(44-45): p. 32, 1961.<br />
several articles and analysis on <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong><br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The original score<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Score description<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
The score<br />
realization score<br />
“Leporello”<br />
2 staves, 21 lines for <strong>the</strong> amplitudes, single staff for<br />
amplitudes, labels<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Compositive process (1)<br />
Process<br />
sinus <strong>to</strong>nes<br />
freq scale<br />
mixtures, used:<br />
“as <strong>the</strong>y are”<br />
reverb<br />
<strong>to</strong> ring modulate<br />
transposed<br />
double reverb<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Compositive process (2)<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
Structure<br />
Linear counterpoint (focal point, see below)<br />
Reversed beginning in <strong>the</strong> end<br />
Technical Means<br />
oscilla<strong>to</strong>rs<br />
ring modulation<br />
reverb<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Why “<strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong>”<br />
Background<br />
Sources<br />
Compositive process<br />
Aims<br />
Why<br />
Score<br />
Precise in<strong>di</strong>cation<br />
Only electronic sounds<br />
Born for au<strong>to</strong>mation<br />
O<strong>the</strong>r pieces have problems<br />
S<strong>to</strong>ckhausen’s Stu<strong>di</strong>e 1<br />
A few pieces from Warsaw stu<strong>di</strong>o (Dobrowolsky, . . . )<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The generative process (1)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
1st parser python csound<br />
Start data Functions incontri.sco incontri.wav<br />
2nd parser<br />
incontri.pdf<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The generative process (2)<br />
start.dat<br />
end.dat<br />
reverb.sco<br />
start.sco<br />
end_offset.sco<br />
end.sco<br />
incontri.pdf<br />
incontri.sco<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
incontri.orc<br />
end_reverb.sco<br />
incontri_wav.sco start_reverb.sco<br />
end.wav<br />
incontri.wav<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The generative process (3)<br />
The starting data file<br />
events<br />
as a technician<br />
Example:<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
u i1 0 13.6 0 13.6 -40 0 0 0 0 0 0 0 0 Z21 - - -<br />
staff<br />
instrument<br />
start time<br />
lenght tape<br />
amplitude segments<br />
mixture name<br />
impulse data<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The generative process (4)<br />
Csound score and au<strong>di</strong>o files<br />
.dat, .orc, .sco<br />
reverb<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Generating mixtures (1)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Rules, mixtures structure<br />
Several groups<br />
Several rules<br />
Not explained in<strong>to</strong> <strong>the</strong> text: it is necessary <strong>to</strong> <strong>di</strong>scover <strong>the</strong>m<br />
Internal structure: <strong>di</strong>ctionary (keys == mixture name, values<br />
== groups of 7 mixtures)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Generating mixtures (2)<br />
Examples:<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
87 93 100 107 115 123 132 141 151 etc<br />
1st mixture<br />
2nd mixture<br />
3rd mixture<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Generating mixtures (3)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
87 93 100 107 115 123 132 141 151 etc<br />
1st mixture<br />
2nd mixture<br />
3rd mixture<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Generating mixtures (4)<br />
Complex Example (a):<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
87 93 100 107 115 123 132 141 151 etc<br />
1st mixture<br />
2nd mixture<br />
3rd mixture<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Generating mixtures (5)<br />
Complex Example (b):<br />
8th mixture<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
132 141 151 161 172 184 197 211 225 240 256 273 291 etc<br />
3rd mixture<br />
4th mixture<br />
5th mixture<br />
6th mixture<br />
7th mixture<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (1)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Why ano<strong>the</strong>r score?<br />
need for listening score<br />
less data, more readable<br />
au<strong>to</strong>matically build<br />
make <strong>Evangelisti</strong>’s dream come true<br />
control system for mistakes (see below)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (2)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Software<br />
python (because it is extremely good)<br />
csound (because it is <strong>the</strong> best)<br />
bash scripting (because we love <strong>the</strong> cmd line)<br />
pic (because we are crazy)<br />
General features<br />
one BIG box<br />
label == mixture name<br />
slope == envelope<br />
<strong>di</strong>fferent lines for <strong>di</strong>fferent instruments<br />
possible <strong>to</strong> scale <strong>the</strong> score from 0.1 seconds <strong>to</strong> ∞<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (3)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (4)<br />
0<br />
-5<br />
-10<br />
-15<br />
-20<br />
-25<br />
-30<br />
-35<br />
-40<br />
A20<br />
B19<br />
S16<br />
T15<br />
V14<br />
Z13<br />
D13<br />
C12<br />
B11<br />
A10<br />
Z4<br />
V3<br />
T2<br />
S1<br />
D15<br />
C14<br />
B13<br />
Z2<br />
V3<br />
T4<br />
S5<br />
B9<br />
C10<br />
D11<br />
A8<br />
Z18 A12<br />
V19<br />
T20<br />
S21<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
11 12 13 14 15 16 17 18 19 20<br />
S6<br />
T5<br />
V4<br />
Z3<br />
A3<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong><br />
B4
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (5)<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
The new score (6)<br />
0<br />
-5<br />
-10<br />
-15<br />
-20<br />
-25<br />
-30<br />
-35<br />
-40<br />
G19<br />
A2<br />
D10<br />
S21<br />
S21<br />
H18<br />
T20<br />
T20<br />
V19<br />
Z18<br />
V19<br />
Z18<br />
Z2<br />
V3<br />
T4<br />
S5<br />
Methodology 1<br />
Methodology 2<br />
Methodology 3<br />
131 132 133 134 135<br />
Z2<br />
V3<br />
T4<br />
S5<br />
B1<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong><br />
H21
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Instruments<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
Like <strong>Evangelisti</strong>, we created <strong>the</strong> following (with Csound):<br />
simple oscilla<strong>to</strong>r<br />
reverberated oscilla<strong>to</strong>r<br />
impulses. They are obtained <strong>by</strong> a simple ring-modulation<br />
instrument<br />
reverberated impulses<br />
transposed mixtures<br />
transposed impulses<br />
transposed and reverberated impulses<br />
double reverberation (for <strong>the</strong> en<strong>di</strong>ng part of <strong>the</strong> piece)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Comparing <strong>the</strong> au<strong>di</strong>o<br />
Problems<br />
Reverb<br />
Some impulses<br />
Examples:<br />
04-08 sec. ca.<br />
08-12 sec. ca.<br />
46-52 sec.<br />
1:35-1:41<br />
2:00-2:04<br />
3:04-3:22<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
Analysis<br />
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
Detailed analysis<br />
not possible <strong>to</strong> be covered now (long)<br />
how:<br />
macro-segmentation (episodes)<br />
micro-segmentation (events)<br />
interpretation of recurring figures and listing<br />
consideration about “linear counterpoint”<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Explanation<br />
Elements<br />
Episode 1<br />
Episode 2<br />
Event 1 Event 2 Event 3<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
Elements<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
Recurring figures, structure and counterpoint<br />
Recurring figures<br />
Lea<strong>di</strong>ng voice<br />
Rapid agglomerate<br />
Juxtaposition and decay<br />
Rising superposition<br />
In-out-reverb<br />
Structure<br />
21 episodes<br />
more than 67 events<br />
Counterpoint<br />
contrast<br />
similar and oblique motion<br />
standard imitation<br />
mirror<br />
“amplitude progression”, etc.<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Example A - Imitation<br />
0<br />
-5<br />
-10<br />
-15<br />
-20<br />
-25<br />
-30<br />
-35<br />
-40<br />
T6<br />
B21<br />
T6<br />
V5<br />
S7<br />
S7<br />
C20<br />
D21<br />
Z6<br />
V7<br />
T8<br />
S9<br />
S9<br />
T8<br />
V7<br />
Z6 A18<br />
Z16<br />
V17<br />
T18<br />
S19<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
53 54 55 56 57 58 59 60 61 62 63 64 65<br />
B19<br />
S19<br />
T18<br />
V17<br />
Z16<br />
C20<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong><br />
S10<br />
A19
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Example B - Complex episode<br />
0<br />
-5<br />
-10<br />
-15<br />
-20<br />
-25<br />
-30<br />
-35<br />
-40<br />
B3<br />
A2<br />
F20 G19<br />
D10<br />
S21<br />
S21<br />
H18<br />
T20<br />
T20<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
V19<br />
Z18<br />
V19<br />
Z18<br />
Z2<br />
V3<br />
T4<br />
S5<br />
129 130 131 132 133 134 135 136<br />
Z2<br />
V3<br />
T4<br />
S5<br />
B1<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong><br />
H21<br />
G20
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Example C - Mirror<br />
0<br />
-5<br />
-10<br />
-15<br />
-20<br />
-25<br />
-30<br />
-35<br />
-40<br />
A14<br />
S17 S17<br />
S15<br />
S15<br />
T15<br />
Z12<br />
Z12 Z12<br />
T15 T15<br />
D16<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
100 101 102 103 104 105 106 107 108 109 110<br />
D16<br />
C15<br />
D16<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong><br />
C15
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
What is “linear counterpoint” ?<br />
counterpoint of amplitudes<br />
<strong>di</strong>fferent rules for frequencies<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
substitution of typical counterpoint processes with . . .<br />
. . . an elaboration of linear (line == <strong>the</strong> amplitude of freq.<br />
mixture in time) events<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
“Mistakes” list<br />
Case study (1)<br />
Case study (2)<br />
Analysis (1)<br />
Analysis (2)<br />
Analysis (3)<br />
Analysis (4)<br />
Analysis (5)<br />
aes<strong>the</strong>tical issue: what does it mean <strong>to</strong> correct an<br />
electroacoustic piece?<br />
mistakes / <strong>di</strong>fferences<br />
kind of mistakes:<br />
simple graphical mistake<br />
bad graphical mistake (ambiguity)<br />
missing data<br />
70 mistakes found<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Summary<br />
Useful for <strong>di</strong>dactic purpose<br />
Conclusion (1)<br />
Conclusion (2)<br />
Critical e<strong>di</strong>tion-revision of <strong>the</strong> piece<br />
Reusable methodology<br />
Enrich <strong>the</strong> study of <strong>Evangelisti</strong><br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
TODO, if we find <strong>the</strong> money. . .<br />
Conclusion (1)<br />
Conclusion (2)<br />
Broaden <strong>the</strong> field of study (reper<strong>to</strong>ires, authors, etc.)<br />
Create a gui for <strong>the</strong> software<br />
Generalize <strong>the</strong> software (rewritten objects-oriented)<br />
Release it under GPL license<br />
Try <strong>to</strong> link it <strong>to</strong> Au<strong>di</strong>o Retrieval research (well. . . <strong>to</strong>o early<br />
now)<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
What (1)<br />
What (2)<br />
Background, sources, compositive process, aims<br />
Methodology<br />
Case study and analysis<br />
Conclusions<br />
Bye<br />
Grazie<br />
Thank you<br />
Merci<br />
Danke<br />
Reconstructing <strong>Incontri</strong> <strong>di</strong> <strong>fasce</strong> <strong>sonore</strong> <strong>by</strong> <strong>Franco</strong> <strong>Evangelisti</strong>
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