Musica/Tecnologia <p class="Body">Since the discovery of electricity music and technology became strictly related, but even before that something kept these two disciplines together. The journal examines the various links and relations between the two trying to comprehend and explain the productive mechanism of music.&nbsp;</p> <p class="Body">Solo dopo l’avvento dell’elettricità e delle sue applicazioni strumentali il rapporto fra musica e tecnologia è divenuto del tutto presente a coloro che operano nell’ambito musicale. Eppure la musica ha sempre avuto una dimensione tecnologica.&nbsp;<em>Musica/Tecnologia</em>&nbsp;tenta di esplorare questa dimensione, nella consapevolezza che i rapporti tra mondo musicale e mondo tecnologico spesso non sono lineari, bensì caratterizzati da sfasamenti cronologici e ambientali. L’urgenza a cui la rivista tenta di rispondere è quella di comprendere i meccanismi produttivi in cui la musica si inserisce, e di intraprendere una riflessione che consenta di non esserne inconsapevolmente sopraffatti.</p> Firenze University Press en-US Musica/Tecnologia 1974-0042 <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication.</p> <p><a href="" rel="license"><img src="" alt="Creative Commons License"></a><br>This work is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a></p> Questo numero. La notazione della musica elettroacustica. Scrutare il passato per contemplare il futuro <p>AAVV</p> Stefano Alessandretti Laura Zattra Copyright (c) 2019 Stefano Alessandretti, Laura Zattra 2019-12-15 2019-12-15 5 8 10.13128/music_tec-11158 La Sostenibilità della Musica Elettroacustica eseguita dal vivo <p>Real-time/performed electroacoustic music is currently facing a serious sustainability problem. Although historically its production is very recent, several technological revolutions have gone by in the meantime. Most of these works can hardly be performed because the technology involved has gone lost since the first realization, and no long-standing notational precaution was ever taken. This paper (first published in 2005 and translated in Italian for the first time) presents some typical case studies and introduces some techniques that might lead to a partial — when not completely adequate — solution to the sustainability problem.</p> Nicola Bernardini Alvise Vidolin Copyright (c) 2019 Nicola Bernardini, Alvise Vidolin 2019-12-15 2019-12-15 9 23 10.13128/music_tec-11159 Musica elettronica e scrittura: appunti di un editore <p>Electroacoustic music with its technological nature dictates a rethinking of traditional categories in music publishing. Concepts such as “work”, “author”, “instrument”, “performer”, even the very idea of “writing”, all change and must be reconsidered alongside the medium, the carrier. The work I’ve being doing as a music publisher puts me in the position to choose among different solutions, in the attempt to reproduce and guarantee this interesting complexity. On the other hand, I also intend to introduce an order in this complexity, with the aim to salvage every single process of development, protection and valorisation of the works we are publishing. In my article I focus on the principles I’m following in my work, not so much to “domesticate” musical ideas into a fixed standard, but to free every work from its particularism – especially from the dependence from technological devices and specific human agents (performers, collaborators). In the last part I discuss the work we are doing to publish a new, more efficient score of <em>Prometeo. Tragedia dell’ascolto </em>(1981-1985) by Luigi Nono.</p> Marco Mazzolini Copyright (c) 2019 Marco Mazzolini 2019-12-15 2019-12-15 25 33 10.13128/music_tec-11160 Tra il segno e il suono: intervista a Marco Angius <p>In this interview with Marco Angius, the music conductor was asked about the role of technology in musical performances, the problems in the use of technological media and the evolution of his artistic-professional trajectory in electro-acoustic musical productions. Mr. Angius offers insight into a number of topics that stem from his interaction with technology, the splitting of the “sign” from sound and the resulting notational and interpretational problems. He also focuses on his work during the re-performance of <em>Prometeo. Tragedia dell’ascolto </em>by Luigi Nono in Parma in 2017. His thoughts come from a privileged point of view, the person who has at the same time the highest “control” over score and performers, and who embodies the medium between the latter and the electronic instruments.</p> Stefano Alessandretti Copyright (c) 2019 Stefano Alessandretti 2019-12-15 2019-12-15 35 42 10.13128/music_tec-11161 Notating electronics <p>While we have always had the need to represent music — ephemeral and abstract in every sense of those adjectives — a special need has been more recently, and acutely,<span class="Apple-converted-space">&nbsp; </span>expressed in notating electronics and electro-acoustic music. This has presented composers and copyists with a certain number of problems, including how to notate these new sounds in the context of adapting a preexisting notational system, or with a purpose designed scheme to respond to the perceived needs of the medium. After an overview of the history of notation in the context of contemporary needs, the article presents the merits of using the traditional system compared to creating new system(s). In conclusion, moving towards a different system of notation is pitched against using what we already know and use with some suggestions on moving forward towards a common practice in notating electronics. Solutions are illustrated with real-world examples taken from collaborative projects with composers Jonathan Harvey, James Dillon and others over the last 20 years.</p> Carl Faia Copyright (c) 2019 Carl Faia 2019-12-15 2019-12-15 43 65 10.13128/music_tec-11162 Notazioni elettromeccaniche, o forse no <p>The paper discusses some aspects of musical notation when including both a human component and a computationally controlled mechanical one. The main themes taken into account in relation to musical notation are information visualization, code writing, procedural abstraction. To this end, some of the author’s projects, developed between 2008 and 2018, are presented, mostly scored for electromechanical devices.</p> Andrea Valle Copyright (c) 2019 Andrea Valle 2019-12-15 2019-12-15 67 84 10.13128/music_tec-11163 Notation for an Electric Stage: Twenty Years of Writing about Notation and a Thought Experiment. With additional commentary about Preservation <p>This paper is a sprawling document covering practical issues about music notation with more theoretical implications of notation. A distinction between reperformance and preservation is elucidated, and a thought experiment of how to notate a time-based light sculpture (László Moholy-Nagy’s Light Prop for an Electric Stage) encourages readers to think about notation as removed from sonic content. It is vital for composers to create notation that goes beyond the notes, so that pieces involving media can be re-performed in addition to creating an informed archive of the initial state(s) of the work as mediated by the composer themselves. <span class="Apple-converted-space">&nbsp;</span></p> Margaret Schedel Federica Bressan Copyright (c) 2019 Margaret Schedel, Federica Bressan 2019-12-15 2019-12-15 85 101 10.13128/music_tec-11164 The aesthetics of notation in Japanese Electroacoustic Music <p>This paper deals with the Japanese contemporary notation whose strategies are in close relation with the aesthetic search for Japanese identity. It focuses on Japanese electroacoustic music of the 1960s and 1970s, with particular attention for live electronic music. In this period Japanese composers are struggling for their musical identity which has to have different language and different notation systems from those of Europe. “Live electronic” develops in a unique style in the 1960s in Japan (incidentally, in the same era when Japanese traditional music starts a new phase called Shin-Hogaku) in a different way from that of Western cultures, even though some composers are affected by Fluxus or Cagean aesthetics. Prescriptive notation of Japanese sound making (much different from the hearing-based graphic visualization like the graphic representation of musique concrète) is discussed in the first part. Chapter 2 focuses on the notation of ICON by Joji Yuasa. Ch. 3 discusses Japanese live-electronic music as indeterminate performance, while ch. 4 discusses notation in the new trend of Japanese traditional music called Shin-Hogaku.</p> Mikako Mikako Copyright (c) 2019 Mikako Mikako 2019-12-15 2019-12-15 103 118 10.13128/music_tec-11165 Abstracts <p>AAVV</p> AAVV AAVV Copyright (c) 2019 2019-12-15 2019-12-15 119 122 10.13128/music_tec-11167 Biographies <p>AAVV</p> AAVV AAVV Copyright (c) 2019 2019-12-15 2019-12-15 123 125 10.13128/music_tec-11168