Formalism

Formalism in music is often based on assumptions that music possesses 'grammars' and 'syntaxes' that may be conceived of and manipulated in formal ways. Therefore it implies the use of any intrinsic or extrinsic system in the creation of micro- and/or macro-structures in music.

Formalism is also sometimes used in art as the sum total of the whole and the relationship of its parts.

Formalisme

Le formalisme musical est généralement fondé sur l'hypothèse que la musique possède une grammaire et une syntaxe qui peut être créée et manipulée d'une manière formelle. Ceci implique l'utilisation de n'importe quel système interne ou externe à la musique afin créer des microstructures ou des macrostructures.

Le terme formalisme est aussi parfois utilisé en art pour désigner l'ensemble et les relations des parties d'une œuvre.

Formalismo

Il formalismo musicale in genere si fonda sull'ipotesi che la musica possieda una grammatica e una sintassi che possono essere create e manipolate dal punto di vista della forma. Ciò implica che l'utilizzo di sistemi interni o esterni alla musica al fine di creare micro o macro strutture. Il termine è utilizzato a volte per designare l'insieme e le relazioni delle parti di un'opera.

Formalismus

Formalism in music is often based on assumptions that music possesses 'grammars' and 'syntaxes' that may be conceived of and manipulated in formal ways. Therefore it implies the use of any intrinsic or extrinsic system in the creation of micro- and/or macro-structures in music.

Formalism is also sometimes used in art as the sum total of the whole and the relationship of its parts.

Formalismo

El formalismo en la música está basado, frecuentemente, en suponer que la misma posee una gramática y una sintaxis que pueden ser concebidas y manipuladas formalmente. Esto implica el uso de cualquier sistema intrínseco o extrínseco para la creación de micro y/o macroestructuras en la música.

El formalismo es también empleado a veces en el arte como la suma del todo y las relaciones entre sus partes.

References

Alvarez J. (1989) Rhythm as Motion Discovered
Barlow C. (1999) Methoden algorithmischer Klangerzeugung anhand eigener Arbeiten: Von Klanglomeration und Schwallwellenreiten zu Synthrumentation und Spektastik (Methods of Sound Synthesis based on my own works - [followed by his own untranslatable new terms]
Chang J. H. (1999) Composing Noise
Criton P. (2005) Mutation and Processuality in the Musical Thought of Horacio Vaggione
Dashow J. (2002) Looking into Sequence Symbols
Di Scipio A. (1991) Caos deterministico, composizione e sintesi del suono (Deterministic chaos, composition and souns synthesis)
Di Scipio A. (1995) Riflessioni sull'analisi della musica elettroacustica e informatica
Di Scipio A. (2002) A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset's Contours
Doati R. (1991) György Ligeti's Glissandi: An Analysis
Fields K. (1999) PostFormalism
Garnett G. E. (2001) The Aesthetics of Interactive Computer Music
Harvey J. (1986) The Mirror of Ambiguity
Hatzis C. (1998) The Law of One: Recursive structures in composition
Hiller L. A. (1966) Musikalische Anwendungen von elektronischen Digitalrechnern(Musical Applications of Electronic Digital Computers)
Hinojosa Chapel R. (2003) Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument
Koenig G. M. (1979) Projekt Eins - Modell und Wirklichkeit (Projekt Eins - Model and reality)
Koenig G. M. (1987) Genesis of Form in Technically Conditioned Environments
Laliberté M. (2005) An Analytic Approach to Horacio Vaggione's Till
Laske O. (1999) Furies and Voices: Composition-Theoretical Observations
Loy G. (1989) Composing with Computers - A Survey of Some Compositional Formalisms and Music Programming Languages
Machover T. (1986) A Stubborn Search for Artistic Unity
Makan K. (2003) An Interview with Gerard Pape
Milicevic M. (1998) Deconstructing Musical Structure
Miranda E. R. (1999) Música y nuevas tecnologías: Perspectivas para el siglo XXI (Music and New Technologies: Perspectives for the 21st Century)
Moles A. A. (1962) Das neue Verhältnis zwischen Musik und Mathematik (The new relationship between music and mathematics)
Piché J. (1981) Thoughts, Contentions, and Composition: Electronic Music 1981
Polli A. (2004) Modelling Storms in Sound: The Atmospherics/Weather Works Project
Richard D. M. (1996) Code - notes - music: An epistemological investigation of algorithmic music
Risset J.-C. (2004) The liberation of sound, art-science and the digital domain: contacts with Edgard Varèse
Risset J.-C. (2005) Horacio Vaggione: Towards a Syntax of Sound
Sargenti S. (1995) Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di Mikrophonie I e di Solo di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of Mikrophonie I and Solo by K.Stockhausen)
Simona S. (1995) Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di Mikrophonie I e di Solo di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of Mikrophonie I and Solo by K.Stockhausen)
Solomos M. (2004) Xenakis' Thought Through his Writings
Spiegel L. (1989) Distinguishing Random, Algorithmic, and Intelligent Music
Supper M. (1997) Elektroakustische Musik und Computermusik; Geschichte-Ästhetik-Methoden-Systeme (Electroacoustic Music and Computer Music: History, Aesthetics, Methods, Systems)
Twombly K. (2002) Oppositional Dialectics in Joji Yuasa's The Sea Darkens
Ungeheuer E. (1999) Musikaliche Experimente in der musikwissenschaftlichen Forschung: Werner Meyer-Eppler und die elektronische Musik (Musical experiments in musicological research: Werner Meyer-Eppler and electronic music)
Vaggione H. (1993) Determinism and the False Collective: About Models of Time in Early Computer-Aided Composition
Vaggione H. (2005) Notes on Atem
Xenakis I. (1958) Auf der Suche nach einer Stochastischen Musik (In search of a stochastic Music)
Xenakis I. (1961) Grundlagen einer stochastischen Musik (Elements of Stochastic Music)