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Book of solo piano etudes by Brazilian composer Bruno Ruviaro. The title comes from a Brazilian poem by Augusto de Campos (Pós-tudo). An étude ("study" in French, "estudo" in Portuguese) is typically a short musical composition designed to improve the skills of a performer by isolating and exploring a specific technical and musical challenge. Each of these twelve etudes is made up of transformations of existing music by other composers, from Bach to Tom Jobim, from Chopin to Pixinguinha, from Kagel to Chiquinha Gonzaga. A PDF of this work can be accessed directly from the composers' website. Bruno Ruviaro lives in Oakland, California, and teaches Composition and Electronic Music at Santa Clara University.
The first comprehensive introduction to the origins, aspirations, and evolution of live coding. Performative, improvised, on the fly: live coding is about how people interact with the world and each other via code. In the last few decades, live coding has emerged as a dynamic creative practice gaining attention across cultural and technical fields—from music and the visual arts through to computer science. Live Coding: A User’s Manual is the first comprehensive introduction to the practice, and a broader cultural commentary on the potential for live coding to open up deeper questions about contemporary cultural production and computational culture. This multi-authored book—by artists and musicians, software designers, and researchers—provides a practice-focused account of the origins, aspirations, and evolution of live coding, including expositions from a wide range of live coding practitioners. In a more conceptual register, the authors consider liveness, temporality, and knowledge in relation to live coding, alongside speculating on the practice’s future forms.
Throughout the western classical tradition, composers have influenced and been influenced by their students and teachers. Many musicians frequently add to their personal acclaim by naming their teachers and the lineage through which they were taught. Until now, the relationships between composers have remained uncataloged and understudied, but with enough research, it is possible to document entire schools of composition. Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students is the first volume to gather the genealogies of more than seventeen thousand classical composers in a single volume. Functioning as its own fully cross-referenced index, this volume lists composers and their dates, followed by their teachers and notable students. A short introduction presents the parameters by which composers were selected and provides a survey of the literature available for further study. Gathering records and information from reference books, university websites, obituaries, articles, composers’ websites, and even direct contact with some composers, Pfitzinger creates a valuable resource for music researchers, composers, and performers.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop—a movement merging Christianity and hip hop culture—to “save” themselves and the city. Converting street corners to open-air churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated soc...
As founder of the Experimental Music Studio at the U. of Illinois in 1958, American composer Lejaren Hiller was a pioneer in the area of computer assisted music composition. In this study, Bohn provides detailed analyses of several of Hiller's most important works, including the ILLIAC Suite and the Computer Cantata . Other topics include (for exam
O presente livro de autoria de Márcia de Oliveira Goulart é a publicação de sua dissertação de mestrado apresentada no Programa de Pós -Graduação em Música do Instituto de Artes da UNESP. Patrocinada pela FAPESP e defendida em 2005 sob a orientação do renomado musicólogo brasileiro Dr. Paulo Augusto Castagna, teve como foco estudar o que foi – ou não – apresentado e discutido sobre música contemporânea nos eventos científicos de música que aconteceram no século XX e quem eram os pesquisadores por trás destas discussões. A grande contribuição que a presente obra fornece ao campo da musicologia brasileira é a compilação dos eventos científicos no país na área de música que aconteceram no século XX, seus principais tópicos de discussões, origens e desenvolvimento ao longo do tempo.