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Computer music journal, 2004-04, Vol.28 (1), p.26-36
Ort / Verlag
238 Main St., Suite 500, Cambridge, MA 02142-1046, USA: MIT Press
Erscheinungsjahr
2004
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
For 50 years, Luciano Berio worked with music technology. That relationship and the theoretical apparatus that developed as a result of it are explored. Quotations of essays by Berio and interviews with him provide for a multi-voiced dialogue. Given the variety of solutions, techniques, and aesthetics Berio used, a comprehensive examination of his work is somewhat disorienting. It is possible to trace certain hypotheses and lines of research that characterizes Berio's language. One of these is the centrality of the act of creation and its absolute preeminence in his technological inquiries. Another is his criticism of those who consider electroacoustic resources as a simple "sampler" programmed with new sounds. Central to Berio's thinking was his desire to create a continuity between electroacoustic music and instrumental music. He imagined no clear separation between genres nor between means of production.