January 2013
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22 Reads
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1 Citation
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January 2013
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22 Reads
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1 Citation
January 2012
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77 Reads
Bulletin de la Société française de musicologie
Traiettoria for piano and electronic sounds (1982-1988), by Marco Stroppa, is one of the key works of mixed genre in the period of the 1980s; it is to be considered on a par with Karlheinz Stockhausen's famous mixed genre Kontakte of 1959. Traiettoria, however, is the work of a very young composer. In the early 1980s, at least at the beginning of the project, Stroppa's style was by no means fixed. It was during the elaboration of his first important work that his compositional workshop was firmly established. The compositional procedures employed in Traiettoria then became the composer's normal language. Following step-by-step the progress of the creation of the three movements which constitute his masterpiece, we can observe the evolution of his compositional techniques and processes: the learning phase (both musical and scientific) that was part and parcel of his first creative intuitions, and the final months of the composition, during which Stroppa became lucidly self-conscious of his compositional process. Furthermore, the analysis of the genetic construction of Traiettoria and of various educational and "self-reflexive" documents of Stroppa himself including his academic transcripts, to which may be added observations on the transfer of compositional procedures into his most recent works (using contemporary software), would appear to be essential not only for the comprehension of the work itsef, but also for the comprehension of the nature of the composer's wider compositional laboratory.
October 2011
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153 Reads
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4 Citations
Contemporary Music Review
This paper aims to explore Marco Stroppa's compositional workshop through the emblematic workTraiettoriato demonstrate how an underlying trend of spectral thought was present in the composer's mind during the gestation of the work but did not determine his aesthetic orientation. From the study of common filiations and difference between Marco Stroppa and the spectral composers, we intend to show how his years of intensive training in various disciplines crystallise into Traiettoria, giving rise to personal and long-lasting key concepts.
January 2011
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5 Reads
... The piano was conceived as a tool that allowed the composer to explore the microscopic dimensions of sound (the disposition of partials, dynamic profiles, etc.) and produce sounds with broader spectral characteristics than piano sounds. Stroppa translated this idea by working on piano resonances, using the instrument (with trills, tremolos or pedaling) but also using sound synthesis (with a very detailed conception of the physical characteristics of sound) and composition techniques borrowed from electroacoustics (Tiffon and Sprenger-Ohana, 2011). For example, in the first part of Traiettoria ... deviata, the computer deals with creating an ambiguous substrate in which the chord can be transformed into a timbre and vice versa. ...
October 2011
Contemporary Music Review