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> en-US <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> (Marco Ligabue) (Alessandro Pierno) Thu, 23 Dec 2021 07:36:22 +0000 OJS 60 Questo numero– Inventare gli arnesi della propria espressione Stefano Alessandretti, Laura Zattra, Paolo Zavagna Copyright (c) 2021 Stefano Alessandretti, Laura Zattra, Paolo Zavagna Thu, 23 Dec 2021 07:31:49 +0000 Media archaeology-based Visual Music <p class="p1">This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.</p> Alberto Novello Copyright (c) 2021 Alberto Novello Thu, 23 Dec 2021 07:32:00 +0000 Tra nubi, selve, giardini e tassonomie: nuova liuteria elettromeccanica ed elettroacustica nelle pratiche musicali di Mauro Lanza, Andrea Valle e Simone Pappalardo <p class="p1">The research presented in this article investigates the artistic practices of Mauro Lanza, Andrea Valle and Simone Pappalardo, with particular attention to the concrete use and the theoretical definition of their new electromechanical and electroacoustics instruments. The paper considers the works <em>Le Nubi non scoppiano per il peso</em> (2011) by Mauro Lanza, the cycle <em>Selva Petrosa</em> (2019-2020) by Andrea Valle, the cycle <em>Systema Naturae</em> (2013-2017) by Andrea Valle and Mauro Lanza, and the performative practice by Simone Pappalardo. Starting from the definition of instrumental apparatus, the discussion presents the organological problems related to the new electromechanical and electroacoustic lutherie, and examines the definitions of electromechanical and electroacoustic instrument. The works of the three composers are analyzed from the point of view of the instrumental equipment, by investigating the algorithmic control techniques of the musical materials that have been used for organizing the instrumental component, and the different signals for controlling the computational component.</p> Luca Guidarini Copyright (c) 2021 Luca Guidarini Thu, 23 Dec 2021 07:32:09 +0000 The Development of the !trumpet <p class="p1">The !trumpet is software synthesis system controlled from, and playing back through, a trumpet.<span class="Apple-converted-space">&nbsp; </span>It is not an electronically extended trumpet: the player produces no acoustic sounds by blowing through the mouthpiece. Instead, breath pressure and valve movement on the brass instrument are read by an embedded Arduino microcontroller<span class="Apple-converted-space">&nbsp; </span>and sent to a laptop, where the data is mapped onto various parameters in synthesis software; the resulting electronic sound is returned to the trumpet, where it plays through a loudspeaker inside the bell, and is further processed acoustically by valve position (changes in the length of tubing filter the speaker output), movement of a plunger mute (wah-wah style filtering), and orientation of the instrument in space (panning).</p> Nicolas Collins Copyright (c) 2021 Nicolas Collins Thu, 23 Dec 2021 07:32:23 +0000 Abstracts Copyright (c) 2021 Thu, 23 Dec 2021 07:32:32 +0000 Biographies Copyright (c) 2021 Thu, 23 Dec 2021 07:32:41 +0000