Documents found
-
1172.More information
In recent years, sound design, a design discipline long considered an intrinsically functional genre, has increasingly integrated sophisticated and intentionally musical sound artifacts. Jingles, “sonotypes”, but also sounds for warnings, confirmations, and even ambient sounds are sometimes chosen for their musical quality, as a part of a more creative process rather than serving a strictly functional objective. Sound design has developed into a recognized and distinguishable artistic form and a generally accepted discipline (Schafer, 1977), and given this increasingly rich acoustic dimension, has evolved into what is known today as “musical design”. In his most recent work, Michael Boumendil (2017) uses this term to express the musical aspect in what he refers to as “planned creativity” (Archer, 1974). This new model has now been turned on its head, in the case of James Murphy's project with the New York subway, which began in 2014. This change is even more interesting since it exceeds the defined limits of these fields and their “natural” hierarchy within the dominant aesthetic from which this model arises. It greatly inspires the content of this text insofar as it seeks to highlight the following observations about sound design today: musical sounds, with or without machine sounds (sound system of automatic turnstiles or ticketing machines, etc.), with a complementary objective of well-being or advanced ergonomics. This trend can be identified notably, but not exclusively, in urban sound ecology, such as sound systems in the healthcare field, which improve and enhance the original purpose of “signalization” and the transfer of information, by means of new technologies. This article introduces notions such as ecosound, musical design, and the new sound order.
-
1173.More information
In this text, pianist Daniel Áñez outlines his activities as a programmer and project manager. He focuses on his artistic mission to promote contemporary Latin American music. He also describes his contrasting perceptions of the paradigms and motivations of musicians in Bogotá and Montreal. On a more personal note, this article discusses his experiences and “status changes” in relation to his transition from student to international student, and then to self-employed musician.
Keywords: immigration, Amérique latine, décolonialité, subventions, militantisme
-
1174.More information
Philip Blackburn paints a picture of the American Composers Forum (ACF), an organisation founded in 1973 that established an avenue for the circulating of new music across the United States. The ACF counts 1700 members and supports composition projects based on a solid collaboration between composers, performers and community, in this way, the ACF helps to maintain composers' careers by integrating their works into the cultural activities of communities. Not only does the ACF provide the means for the circulation of new musical works, but it assures that their performances take place in response to the artistic needs of the hosting communities. The ACF thus creates a vertible market of new music.
-
1176.
-
1177.
-
1178.
-
1179.