Agostino Di Scipio
Biographic Data
| ID | 955877 |
|---|---|
| NAME | Agostino Di Scipio |
| GIVEN NAMES | Agostino |
| FAMILY NAME | Di Scipio |
| SIGNATURE | DI SCIPIO A |
| AFFILIATIONS | University of L'Aquila |
| ORCID | 0000-0001-7953-9508 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 13 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 2 |
A Constructivist Gesture of Deconstruction. Sound as a Cognitive Medium
This author outlines the approach taken in a series of live-electronics works whose title is Modes of Interference, and describes more particularly the third work in the series, a sound installation using three or more electric guitars, amplifiers and computer. This installation implements a feedback network of sonic interactions structurally coupled with the surrounding environment, developing a kind of autonomous (i.e. self-regulating) and dyna…
Émergence du Son, Son d’Emergence. Essai d’épistémologie expérimentale par un compositeur
Emergence of Sound, Sound of Emergence. This paper is in three parts. The first one introduces the notion of "sonological emergence” in the framework of a systemic perspective, following a radical-constructivistic standpoint. The secondo describes the main points in a compositional project, Ecosistemico Udibile (Audible Ecosystemics), consisting in a network of element processes capable of generating/ transforming/ destroying sound, working under…
Due di Uno
At risk of appearing disrespectful in the context of a Festschrift, this article focuses on Due di Uno, a composition of the author's own, dedicated to Horacio Vaggione. This composition reflects an attempt at designing and staging a small technological infrastructure whose audible result is the music. It is an effort in algorithmic composition and, at the same time, an attempt at implementing a network of dynamical interactions between two instr…
The Orchestra as a Resource for Electroacoustic Music On some works by Iannis Xenakis and Paul Dolden
Iannis Xenakis' tape work Hibiki-Hana-Ma (1970) was composed only using extended recordings of orchestral passages. In this paper some analytical remarks are proposed concerning the studio techniques Xenakis adopted and how they reflect in the resultant sonorities. I shortly discuss, too, Below the Walls of Jericho (1988-89), a tape work by Canadian composer Paul Dolden, made of hundreds of instrumental lines layered together like a huge kind of …
The Synthesis of Environmental Sound Textures by Iterated Nonlinear Functions, and its Ecological Relevance to Perceptual Modeling
This paper overviews an approach of digital sound synthesis based on iterated nonlinear functions, and describes its use in the creation of sounds of textural type. Due to the nonlinear dynamics in the iterated process, time-changing sonorities are synthesized reminiscent of environmental sound events and effects of “acoustic turbulence.” This opens to the modeling of perceptual attributes of complex auditory images. The experiments documented he…
Iterated Nonlinear Functions as a Sound-Generating Engine
This article describes a method of digital sound synthesis and algorithmic composition based on iterated nonlinear functions. The mathematical framework of Functional Iteration Synthesis (FIS) is outlined, and the dynamics of a specific FIS model are explained. Given the model's peculiarly chaotic system dynamics, an empirical, exploratory attitude is needed in order to achieve compositionally relevant controls. The required method of this explor…
An analysis of Jean-Claude Risset's Contours
This paper discusses an analysis of Jean-Claude Risset's Contours, a tape work composed in 1982 using only computer sound synthesis. The analysis is based on recorded traces of the compositional process (Music code listings, verbal and graphical annotations), and focuses on sound design criteria. It attempts to elucidate the connection between these criteria and the overall structure of the musical work. In short, it investigates the observable l…
Questions concerning music technology
Synthesis by functional Iterations. A revitalization of nonstandard Synthesis
This paper introduces a nonstandard sound synthesis method that the authors, with terminology drawn from the literature on chaos theory, call synthesis by functional iterations. It describes the general formalism and the application of a difference equation model — the "sine map". Sounds generated with this method can show dynamical properties ranging from very "active" behavior (spectrally rich transient phenomena, turbulence and noise) to relat…
Centrality of Téchne for an Aesthetic approach on electroacoustic music
Electroacoustic music poses methodological problems to purely hermeneutic and historical musicology — problems of epistemological nature betrayed by a lack of ethnomusicological awareness (in a sense to be defined). What is missing is a methodology capable of characterising the technical processes and the designing tools that make up the compositional environment, models, representations, and knowledge‐level strategies, which is understood as tra…
Inseparable models of materials and of musical design in electroacoustic and computer music
The focus of this article is on the models that may characterize the notion of material in the task‐environment of electroacoustic and computer music. By investigating the cognitive relation between material and form, it is shown that technologically‐based sonic art can leave the pseudo‐ontological dualism of instrumental and vocal music (sound vs. structure, sonic vs. syntactical properties), and establish new paradigms of music composition. The…
Micro-time sonic design and timbre formation
This article outlines a particular mode of composition wherein timbre emerges from micro-level processes of sonic design, on the basis of discrete-time microstructural representations of sound. This approach is characterised in terms of models of detailed sonic design and is described as a unique instance of an indeterministic style of creative thinking in electroacoustic music composition. The discussion includes examples drawn from early electr…
Contribution to the design of an expert system for the generation of tonal multiple counterpoint
In this paper I examine some main features shown by recent applications of Artificial Intelligence methods to a specific set of musical problems concerning counterpoint. Particular emphasis is given to the “multiple viewpoints” — oriented techniques. However, theoretical and practical cirticisms are introduced, concerning the sense and the nature of both the knowledge-representation and the intended musical tasks. A practical example is then desc…
Inseparable models of materials and of musical design in electroacoustic and computer music
The focus of this article is on the models that may characterize the notion of material in the task‐environment of electroacoustic and computer music. By investigating the cognitive relation between material and form, it is shown that technologically‐based sonic art can leave the pseudo‐ontological dualism of instrumental and vocal music (sound vs. structure, sonic vs. syntactical properties), and establish new paradigms of music composition. The…
Micro-time sonic design and timbre formation
This article outlines a particular mode of composition wherein timbre emerges from micro-level processes of sonic design, on the basis of discrete-time microstructural representations of sound. This approach is characterised in terms of models of detailed sonic design and is described as a unique instance of an indeterministic style of creative thinking in electroacoustic music composition. The discussion includes examples drawn from early electr…
Synthesis by functional Iterations. A revitalization of nonstandard Synthesis
This paper introduces a nonstandard sound synthesis method that the authors, with terminology drawn from the literature on chaos theory, call synthesis by functional iterations. It describes the general formalism and the application of a difference equation model — the "sine map". Sounds generated with this method can show dynamical properties ranging from very "active" behavior (spectrally rich transient phenomena, turbulence and noise) to relat…
Due di Uno
At risk of appearing disrespectful in the context of a Festschrift, this article focuses on Due di Uno, a composition of the author's own, dedicated to Horacio Vaggione. This composition reflects an attempt at designing and staging a small technological infrastructure whose audible result is the music. It is an effort in algorithmic composition and, at the same time, an attempt at implementing a network of dynamical interactions between two instr…
Iterated Nonlinear Functions as a Sound-Generating Engine
This article describes a method of digital sound synthesis and algorithmic composition based on iterated nonlinear functions. The mathematical framework of Functional Iteration Synthesis (FIS) is outlined, and the dynamics of a specific FIS model are explained. Given the model's peculiarly chaotic system dynamics, an empirical, exploratory attitude is needed in order to achieve compositionally relevant controls. The required method of this explor…
Questions concerning music technology
Contribution to the design of an expert system for the generation of tonal multiple counterpoint
In this paper I examine some main features shown by recent applications of Artificial Intelligence methods to a specific set of musical problems concerning counterpoint. Particular emphasis is given to the “multiple viewpoints” — oriented techniques. However, theoretical and practical cirticisms are introduced, concerning the sense and the nature of both the knowledge-representation and the intended musical tasks. A practical example is then desc…
Micro-time sonic design and timbre formation
This article outlines a particular mode of composition wherein timbre emerges from micro-level processes of sonic design, on the basis of discrete-time microstructural representations of sound. This approach is characterised in terms of models of detailed sonic design and is described as a unique instance of an indeterministic style of creative thinking in electroacoustic music composition. The discussion includes examples drawn from early electr…
Centrality of Téchne for an Aesthetic approach on electroacoustic music
Electroacoustic music poses methodological problems to purely hermeneutic and historical musicology — problems of epistemological nature betrayed by a lack of ethnomusicological awareness (in a sense to be defined). What is missing is a methodology capable of characterising the technical processes and the designing tools that make up the compositional environment, models, representations, and knowledge‐level strategies, which is understood as tra…
Inseparable models of materials and of musical design in electroacoustic and computer music
The focus of this article is on the models that may characterize the notion of material in the task‐environment of electroacoustic and computer music. By investigating the cognitive relation between material and form, it is shown that technologically‐based sonic art can leave the pseudo‐ontological dualism of instrumental and vocal music (sound vs. structure, sonic vs. syntactical properties), and establish new paradigms of music composition. The…
Synthesis by functional Iterations. A revitalization of nonstandard Synthesis
This paper introduces a nonstandard sound synthesis method that the authors, with terminology drawn from the literature on chaos theory, call synthesis by functional iterations. It describes the general formalism and the application of a difference equation model — the "sine map". Sounds generated with this method can show dynamical properties ranging from very "active" behavior (spectrally rich transient phenomena, turbulence and noise) to relat…
Questions concerning music technology
An analysis of Jean-Claude Risset's Contours
This paper discusses an analysis of Jean-Claude Risset's Contours, a tape work composed in 1982 using only computer sound synthesis. The analysis is based on recorded traces of the compositional process (Music code listings, verbal and graphical annotations), and focuses on sound design criteria. It attempts to elucidate the connection between these criteria and the overall structure of the musical work. In short, it investigates the observable l…
Iterated Nonlinear Functions as a Sound-Generating Engine
This article describes a method of digital sound synthesis and algorithmic composition based on iterated nonlinear functions. The mathematical framework of Functional Iteration Synthesis (FIS) is outlined, and the dynamics of a specific FIS model are explained. Given the model's peculiarly chaotic system dynamics, an empirical, exploratory attitude is needed in order to achieve compositionally relevant controls. The required method of this explor…
The Synthesis of Environmental Sound Textures by Iterated Nonlinear Functions, and its Ecological Relevance to Perceptual Modeling
This paper overviews an approach of digital sound synthesis based on iterated nonlinear functions, and describes its use in the creation of sounds of textural type. Due to the nonlinear dynamics in the iterated process, time-changing sonorities are synthesized reminiscent of environmental sound events and effects of “acoustic turbulence.” This opens to the modeling of perceptual attributes of complex auditory images. The experiments documented he…
The Orchestra as a Resource for Electroacoustic Music On some works by Iannis Xenakis and Paul Dolden
Iannis Xenakis' tape work Hibiki-Hana-Ma (1970) was composed only using extended recordings of orchestral passages. In this paper some analytical remarks are proposed concerning the studio techniques Xenakis adopted and how they reflect in the resultant sonorities. I shortly discuss, too, Below the Walls of Jericho (1988-89), a tape work by Canadian composer Paul Dolden, made of hundreds of instrumental lines layered together like a huge kind of …
Due di Uno
At risk of appearing disrespectful in the context of a Festschrift, this article focuses on Due di Uno, a composition of the author's own, dedicated to Horacio Vaggione. This composition reflects an attempt at designing and staging a small technological infrastructure whose audible result is the music. It is an effort in algorithmic composition and, at the same time, an attempt at implementing a network of dynamical interactions between two instr…
Émergence du Son, Son d’Emergence. Essai d’épistémologie expérimentale par un compositeur
Emergence of Sound, Sound of Emergence. This paper is in three parts. The first one introduces the notion of "sonological emergence” in the framework of a systemic perspective, following a radical-constructivistic standpoint. The secondo describes the main points in a compositional project, Ecosistemico Udibile (Audible Ecosystemics), consisting in a network of element processes capable of generating/ transforming/ destroying sound, working under…
A Constructivist Gesture of Deconstruction. Sound as a Cognitive Medium
This author outlines the approach taken in a series of live-electronics works whose title is Modes of Interference, and describes more particularly the third work in the series, a sound installation using three or more electric guitars, amplifiers and computer. This installation implements a feedback network of sonic interactions structurally coupled with the surrounding environment, developing a kind of autonomous (i.e. self-regulating) and dyna…
Computer Science (12 works) · Music Technology and Sound Studies (11 works) · Art (9 works) · Visual arts (8 works) · Musical (7 works) · Psychology (7 works) · Aesthetics (6 works) · Cognitive science (6 works) · Mathematics (6 works) · Acoustics (5 works)