The nature of the instrument: Luciano Berio, instrumental thought and Schaefferian theory

Book chapter

Dack, J. 2012. The nature of the instrument: Luciano Berio, instrumental thought and Schaefferian theory. in: De Benedictis, A. (ed.) Luciano Berio: nuove prospettive / new perspectives Florence, Italy Leo S. Olschki.
Chapter titleThe nature of the instrument: Luciano Berio, instrumental thought and Schaefferian theory
AuthorsDack, J.
Abstract

[Publisher's description of the book containing this chapter:] The introductory addresses by Umberto Eco, Giorgio Pestelli, Jean-Jacques Nattiez and Edoardo Sanguineti are followed by two further sections: the substantial «Studies and contributions», devoted to specific topics concerning Berio’s output, and «Closing reflections».
The papers, featuring new methodologies and interpretative perspectives, prompt reflection on specific philological, analytical and aesthetic issues and also on the very concept of «music» that characterised one of the foremost protagonists of the twentieth century.

Research GroupElectronic and Digital Arts cluster
Book titleLuciano Berio: nuove prospettive / new perspectives
EditorsDe Benedictis, A.
PublisherLeo S. Olschki
Place of publicationFlorence, Italy
SeriesChigiana
ISBN
Hardcover9788822261106
Publication dates
Print2012
Publication process dates
Deposited09 Jul 2013
Output statusPublished
Web address (URL)http://www.olschki.it/Plus/htm/2011/61106/61106.htm
LanguageEnglish
Permalink -

https://repository.mdx.ac.uk/item/842yx

Log in to edit
  • 131
    total views
  • 0
    total downloads
  • 1
    views this month
  • 0
    downloads this month

Export as

Related outputs

Pierre Schaeffer and the (recorded) sound source
Dack, J. 2019. Pierre Schaeffer and the (recorded) sound source. in: Steintrager, J. and Chow, R. (ed.) Sound Objects London, UK Duke University Press. pp. 33-52
Radiophonie/Poesie/Musik
Dack, J. 2018. Radiophonie/Poesie/Musik. in: Holl, U., Singer, N. and et al. (ed.) Radiophonics: Volume 1 Radiophonic Cultures [Exhibition Catalogue] Berlin, Germany Kehrer Verlag.
Those blue remembered sounds
Dack, J. 2014. Those blue remembered sounds. in: Erbe, M. and Blumröder, C. (ed.) Le monde sonore de / The sound world of / Die Klangwelt des François Bayle Verlag der Apfel. pp. 9-41
The mediating role of the piano in Karlheinz Stockhausen’s Kontakte für elektronische Klänge, Klavier und Schlagzeug
Dack, J. 2017. The mediating role of the piano in Karlheinz Stockhausen’s Kontakte für elektronische Klänge, Klavier und Schlagzeug. in: Bonardi, A., Bossis, B., Couprie, P. and Tiffon, V. (ed.) Analyser la musique mixte France Éditions Delatour.
À l’écoute des langages plastique et musical dans les « Variations pour une porte et un soupir » de Pierre Henry
Dack, J. 2016. À l’écoute des langages plastique et musical dans les « Variations pour une porte et un soupir » de Pierre Henry. in: Marty, N. (ed.) Musiques Électroacoustiques - Analyses-Écoutes France Éditions Delatour. pp. 111-124
In search of a concrete music by Pierre Schaeffer; translated by Christine North and John Dack.
Schaeffer, P., Dack, J. and North, C. 2012. In search of a concrete music by Pierre Schaeffer; translated by Christine North and John Dack. Berkeley University of California Press.
Treatise on musical objects: an essay across disciplines by Pierre Schaeffer; translated by Christine North and John Dack
Schaeffer, P., North, C. and Dack, J. 2017. Treatise on musical objects: an essay across disciplines by Pierre Schaeffer; translated by Christine North and John Dack. Oakland, USA University of California Press.
Forschung im inneren des klangs
Dack, J. 2014. Forschung im inneren des klangs. Neue Zeitschrift für Musik.
La musique électroacoustique Mixte: Interactions entre le "réel" et le "virtuel"
Dack, J. 2016. La musique électroacoustique Mixte: Interactions entre le "réel" et le "virtuel". in: Musique Et Technologie : Regards Sur Les Musiques Mixtes Paris, France Ina GRM.
François Bayle’s valeur obscure
Dack, J. 2015. François Bayle’s valeur obscure. in: Brech, M. and Paland, R. (ed.) Kompositionen für hörbaren Raum: die frühe elektroakustische Musik und ihre Kontexte = Compositions for audible space : the early electroacoustic music and its contexts Bielefeld Transcript Verlag. pp. 277-286
Instrument, que nous veux-tu?
Dack, J. 2008. Instrument, que nous veux-tu? in: Pierre Schaeffer France Ina GRM.
The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970.
Dack, J. 1989. The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970. PhD thesis Middlesex Polytechnic
Virtuosity and the virtual.
Dack, J. 2004. Virtuosity and the virtual. John Dack.
Translating Pierre Schaeffer: symbolism, literature and music.
Dack, J. 2006. Translating Pierre Schaeffer: symbolism, literature and music. Musicacoustica 2006.
The open form in the arts.
Dack, J. 2004. The open form in the arts. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 7-13
The evocation of space as a compositional determinant.
Dack, J. 2000. The evocation of space as a compositional determinant. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 61-66
The electroacoustic music of Henri Pousseur and the open form
Dack, J. 2009. The electroacoustic music of Henri Pousseur and the open form. in: Heile, B. (ed.) The modernist legacy: essays on new music Aldershot Ashgate. pp. 177-188
The artist-couple (Sabine Schäfer and Joachim Krebs).
Dack, J. 2004. The artist-couple (Sabine Schäfer and Joachim Krebs). in: AquaAngelusVox MDG.
The 'series' in Music and Art.
Dack, J. 2003. The 'series' in Music and Art. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 21-28
Spectral music and Schaefferian methodology.
Dack, J. 2008. Spectral music and Schaefferian methodology. in: Reigle, R. and Whitehead, P. (ed.) Spectral World Musics: proceedings of the Istanbul Spectral Music Conference. Istanbul Pan Yayincilik. pp. 75-92
The 'open' score as source for interaction.
Dack, J. 2000. The 'open' score as source for interaction. in: IIASSRC Conference Proceedings: On Interaction/Interactivity in Music, Design, Visual and Performing Arts IIASSRC Conference Proceedings.
Sound, installations and music.
Dack, J. 2003. Sound, installations and music. in: MAXIS II Conference Proceedings MAXIS II Conference Proceedings. pp. 35-39
Sonic Art: Interactions between practice and theory.
Dack, J. 2005. Sonic Art: Interactions between practice and theory. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 33-40
Review: the 'Nowalls' Conference at De Montfort University
Dack, J. 2002. Review: the 'Nowalls' Conference at De Montfort University. Computer Music Journal.
Report on the Sonic Arts Network Conference, Newcastle
Dack, J. 2001. Report on the Sonic Arts Network Conference, Newcastle. Diffusion.
Music in space, space in music.
Dack, J. 2008. Music in space, space in music. Society for the Promotion of New Music: New Notes.
Ludwig van Henry: an interview with Pierre Henry.
Dack, J. 2000. Ludwig van Henry: an interview with Pierre Henry. Journal of Electroacoustic Music. 13, pp. 27-30.
La musique électro-acoustique 'mixte'.
Dack, J. 2010. La musique électro-acoustique 'mixte'. in: Une étude des interactions entre le ‘réel’ et le ‘virtuel’ Paris MINT-OMF Université Paris-Sorbonne.
Karlheinz Stockhausen's kontakte and narrativity.
Dack, J. 1999. Karlheinz Stockhausen's kontakte and narrativity. Kontakte and Narrativity.
Introduction to the work of Sabine Schäfer
Dack, J. 2000. Introduction to the work of Sabine Schäfer. Diffusion.
Introduction and Afterword to Sound - Time - Space - Movement by Sabine Schäfer/Joachim Krebs
Dack, J. and Nuhn, R. 2003. Introduction and Afterword to Sound - Time - Space - Movement by Sabine Schäfer/Joachim Krebs. Organised Sound. 8 (2), pp. 213-225.
Instrument, what do you want of us?
Dack, J. 2009. Instrument, what do you want of us? in: Gayou, E. (ed.) Pierre Schaeffer Paris, France Institut National de l'Audiovisuel.
Histories and ideologies of synthesis.
Dack, J. 2002. Histories and ideologies of synthesis. in: Maxis Conference Proceedings Maxis Conference Proceedings. pp. 35-40
Henri Pousseur's 'Huit Etudes Paraboliques': the 'open' form as 'Remix'?
Dack, J. 2006. Henri Pousseur's 'Huit Etudes Paraboliques': the 'open' form as 'Remix'? in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 19-24
From sound to music: from recording to theory.
Dack, J. 2010. From sound to music: from recording to theory. in: Bayley, A. (ed.) Recorded music: performance, culture and technology Cambridge Cambridge University Press (CUP). pp. 271-290
Francis Dhomont in London.
Dack, J. 2000. Francis Dhomont in London. Electroacoustic Music and History Diffusion. May, pp. 2-3.
Ear-training using the computer and PROGREMU Recueil des actes.
Dack, J. 2003. Ear-training using the computer and PROGREMU Recueil des actes. in: 10e Journées d’Informatique Musicale 10e Journées d’Informatique Musicale. pp. 1-10
Diffusion as performance.
Dack, J. 2001. Diffusion as performance. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 81-88
Die Herausforderung traditioneller Konzepte.
Dack, J. 2000. Die Herausforderung traditioneller Konzepte. MusikTexte. 84.
CD review: The British 'school' of acousmatic music
Dack, J. 2002. CD review: The British 'school' of acousmatic music. Computer Music Journal. 26 (3), pp. 91-94.
At the limits of Schaeffer's TARTYP.
Dack, J. 2001. At the limits of Schaeffer's TARTYP.
Acoulogie: an answer to Lévi-Strauss?
Dack, J. 2007. Acoulogie: an answer to Lévi-Strauss? in: EMS07 Online Proceedings EMS07 Online Proceedings.
Abstract and concrete.
Dack, J. 2002. Abstract and concrete. Journal of Electroacoustic Music. 14, pp. 2-7.
Writing aloud: the sonics of language
Dack, J. 2003. Writing aloud: the sonics of language. Computer Music Journal. 27 (1), pp. 86-88.
Soundscape: the school of sound lectures.
Dack, J. 2005. Soundscape: the school of sound lectures. Sound Journal.
Electroacoustic music: analytical perspectives
Dack, J. 2004. Electroacoustic music: analytical perspectives. Organised Sound. 9 (1), pp. 115-117.
A sense of place: a sense of space
Dack, J. and Gibbs, T. 2008. A sense of place: a sense of space. in: Dogantan-Dack, M. (ed.) Recorded Music: Philosophical and Critical Reflections London Middlesex University Press.
Foreword, afterword and translation of "Sound - Time - Space - Movement: The Space-Sound Installations of the artist couple Sabine Schäfer/Joachim Krebsâ
Nuhn, R. and Dack, J. 2004. Foreword, afterword and translation of "Sound - Time - Space - Movement: The Space-Sound Installations of the artist couple Sabine Schäfer/Joachim Krebsâ. Organised Sound. 8 (2), pp. 213-225.
Webern's Op.21 and the unity of musical space.
Dack, J. 2002. Webern's Op.21 and the unity of musical space. in: Systems Research in the Arts. IIASSRC Conference.
"Open" forms and the computer.
Dack, J. 2004. "Open" forms and the computer. in: Barbanti, R. (ed.) Musiques, arts, technologie. Pour une Approche Critique. Collection: 'Musique-philosophie' Paris Harmattan. pp. 401-412
Technology and the instrument
Dack, J. 2002. Technology and the instrument. in: Grün, L. and Wiegand, F. (ed.) Musik netz werke - Konturen der neuen Musikkultur Germany Taschenbuch. pp. 39-54
Instrument und Pseudoinstrument - Akusmatische Konzepte
Dack, J. 2002. Instrument und Pseudoinstrument - Akusmatische Konzepte. in: Ungeheuer, E. and Bottenberg, E. (ed.) Elektroakustische Musik Laaber-Verlag.