- Portugal
- Riccardo Wanke, author of the book "Sound in The Ecstatic-Materialist Perspective on Experimental Music" (2021, Routl... moreRiccardo Wanke, author of the book "Sound in The Ecstatic-Materialist Perspective on Experimental Music" (2021, Routledge, Taylor & Francis), is a multidisciplinary experienced researcher, having conducted research in historical musicology, art practices and natural sciences, supervised both students and research teams. His central interest is the 20th and 21st century music, sound and music perception, music aesthetic, analysis and theory. He is member of the European Society for the Cognitive Science of Music (ESCOM), and the Society for Education, Music and Psychology Research (SEMPRE). He has collaborated with Makis Solomos (Paris 8, FR), Michael Clarke (Huddersfield University , UK), Claude Alain (Toronto, CA), Marc Thompson (Jyväskylä, FI), Nicola Di Stefano (CNR-Rome, IT), Vincenzo Santarcangelo (Turin, IT). Since 2015, he has authored (and co-authored) more than 25 peer-reviewed contributions in musicology and related topics such as music theory, aesthetics, analysis, perception/cognition (1 book as author, 3 books as co-editor, 6 journal articles, 3 book chapters, 14 proceeding papers) and published 10 releases as music actor (composer, performer, music editor). As a composer and performer, he explores the electronic manipulation of sound, having performed live worldwide and published music for international labels (USA, CH, IT, PT, MX). His diversity of scientific and artistic skills allows him to excel in inter- and transdisciplinary research approaches. Bibliometric data (Citations/H-index): Google Scholar: 522/12; SCOPUS: 508/11; WOS: 493/12.edit
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Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to... more
Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to the exploration of sound’; Solomos identifies a change of model: ‘from a musical civilisation centred on the sound’ to ‘a musical civilisation of sound’, and he recognises that this change is plural. Within this frame of reference, one can identify that starting from the mid-twentieth century certain trends (i.e. non-teleological perspectives; the fusion of electronic, acoustic and concrete sounds and the extended use of sound spectra) were simultaneously developed as the cardinal principles of artistic practice across distant genres of music. Today, common practices are found across distant styles: such as a flexible approach to harmony, the enormous extension of timbric range, the creative use of new technologies, and, above all, the sculptural approach to sound as a matter to mould. Starting from Scelsi’s definition of “Spherical Sound”, this paper presents a particular perspective, shared across various currents of today’s music that focuses on SOUND itself as a complex, dense and tangible entity. Through theoretical and perceptual examinations, this study explores a new method for comparing different genres of music characterized by a similar approach to sound. This strategy is applied to postspectralist compositions (Haas, Lang), as well as glitch, electronic pieces (PanSonic, Ikeda). Common musical attributes are identified that help trace a new outlook on various styles. The study's contribution lies in its revealing of a shared perspective between different musical practices, reflecting in how distant pieces could be treated. It would facilitate artistic convergences and it help in the creation of didactic and academic platforms for the study of diverse musical contexts within a unified sonic framework. [16th Annual Congress of the Society for Music Theory (GMTH) / 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) “Klang: Wundertüte oder Stiefkind der Musiktheorie”, Hannover, Germany. 30.-2. October 2016]
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This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential musical... more
This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential musical elements (e.g. pulse, spectral properties, dynamic contrast, spatial arrangements) their characteristics and effects. This method has been applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). The analysis reveals nine musical attributes that are common within the selection of pieces. These attributes indicate parallels, similar perspectives and a common affnity among different genres. The study contributes essentially by minimising artistic distances and establishing shared musical conceptions.
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This paper presents a particular perspective, shared across various currents of today’s music that focuses on sound itself as a complex entity. Through the analysis of certain fundamental musical elements and sonic characteristics, this... more
This paper presents a particular perspective, shared across various currents of today’s music that focuses on sound itself as a complex entity. Through the analysis of certain fundamental musical elements and sonic characteristics, this study explores a new method for comparing different genres of music characterized by a similar approach to sound. Taking benefit of theoretical and perceptual examinations, this strategy is applied to postspectralist and minimalist compositions (e.g. G. F. Haas, B. Lang R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). Nine musical attributes are identified that help trace a new outlook on various genres of music. The study's contribution lies in its revealing of a shared musical perspective between different artistic practices, and in the establishment of new connections between pieces that belong to unrelated contexts. Keeping with the topic of the conference, this paper attempts t...
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Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to... more
Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to the exploration of sound’; Solomos identifies a change of model: ‘from a musical civilisation centred on the sound’ to ‘a musical civilisation of sound’, and he recognises that this change is plural. Within this frame of reference, one can identify that starting from the mid-twentieth century certain trends (i.e. non-teleological perspectives; the fusion of electronic, acoustic and concrete sounds and the extended use of sound spectra) were simultaneously developed as the cardinal principles of artistic practice across distant genres of music. Today, common practices are found across distant styles: such as a flexible approach to harmony, the enormous extension of timbric range, the creative use of new technologies, and, above all, the sculptural approach to sound as a matter to mould. Starting from Scelsi’s definition of “Spherical Sound”, this paper presents a particular perspective, shared across various currents of today’s music that focuses on SOUND itself as a complex, dense and tangible entity. Through theoretical and perceptual examinations, this study explores a new method for comparing different genres of music characterized by a similar approach to sound. This strategy is applied to postspectralist compositions (Haas, Lang), as well as glitch, electronic pieces (PanSonic, Ikeda). Common musical attributes are identified that help trace a new outlook on various styles. The study's contribution lies in its revealing of a shared perspective between different musical practices, reflecting in how distant pieces could be treated. It would facilitate artistic convergences and it help in the creation of didactic and academic platforms for the study of diverse musical contexts within a unified sonic framework. [16th Annual Congress of the Society for Music Theory (GMTH) / 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) “Klang: Wundertüte oder Stiefkind der Musiktheorie”, Hannover, Germany. 30.-2. October 2016]
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This paper enquires into the ways in which listeners perceive certain practices of today’s experimental music. Trained and untrained listeners evaluate short musical excerpts coming from post–spectral and contemporary compositions (G. F.... more
This paper enquires into the ways in which listeners perceive certain practices of today’s experimental music. Trained and untrained listeners evaluate short musical excerpts coming from post–spectral and contemporary compositions (G. F. Haas), as well as glitch and electronic music (Pan Sonic) but all belonging to a recognized aesthetic frame of references. The work explores the potential of semantic descriptors to define sound and examines the ability of participants to sort audio samples, express criteria and recognize common sonic characteristics. Moreover it reveals the difficulties that lie in expressing our perception of experimental music. In applying perceptual surveys for the development of comparative methods in musicology, this article shows that the recognition of a cross–genres perspective could pass through perceptual and empirical studies.
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This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are... more
This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are often associated, during listening, with visual and tactile sensorial qualities and with abstract geometries. They are perceived fundamentally as the results of acoustic-physical forces and energies and are organized according to Gestalt and kinesthetic principles. This kind of music calls for a specific listening attitude, which we define as the vertical stance, and seems particularly apt to respond to mechanisms of the working memory where echoic, short- and long-term memories assume a central role. In this vertical stance, memory is involved in the mental construction (segregation, storage, and prediction) of the Gestalt configurations of this music within a perceptual domain that crucially has no spatial connection to the external world. In tying ...
Research Interests: Cognitive Psychology, Cognitive Science, Music, Philosophy, Perception, and 15 moreAuditory Perception, Music Psychology, Embodied Cognition, Gestalt Psychology, Philosophy of Cognitive Science, Experimental Music, Contemporary Music, Philosophy of perception, Music Perception, Contemporary Art Music, Memory, Auditory Scene Analysis, Music and Emotion, Memory Cognitive Psychology, and History and Philosophy of Science
This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential musical... more
This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential musical elements (e.g. pulse, spectral properties, dynamic contrast, spatial arrangements) their characteristics and effects. This method has been applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). The analysis reveals nine musical attributes that are common within the selection of pieces. These attributes indicate parallels, similar perspectives and a common affnity among different genres. The study contributes essentially by minimising artistic distances and establishing shared musical conceptions.
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This article explores a particular perspective, shared across various contemporary musical currents, that focuses on sound itself as a complex entity. Through the analysis of certain fundamental musical elements and sonic characteristics,... more
This article explores a particular perspective, shared across various contemporary musical currents, that focuses on sound itself as a complex entity. Through the analysis of certain fundamental musical elements and sonic characteristics, this study develops a new method for comparing different genres characterised by a similar approach to sound. Using the benefits of audio, spectra and score examinations, this strategy is applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang, R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). Nine musical attributes are identified that help trace a new outlook on various currents in today’s music. The study’s contribution lies in its revealing of a shared musical perspective between different artistic practices, and in the establishment of new connections between pieces that belong to unrelated contexts.
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This article proposes a perspective on certain practices within experimental music based on a particular understanding of sonic materialism. By tracing correlations and marking divergences between post-spectralism, minimalism,... more
This article proposes a perspective on certain practices within experimental music based on a particular understanding of sonic materialism. By tracing correlations and marking divergences between post-spectralism, minimalism, electroacoustic music, glitch and IDM’s offshoots, this article reflects on sound-in-itself, the conception of space and time in music, poietics, perceptual and cultural factors, and suggests that there is a particular understanding of sonic materialism – which I term ecstatic-materialism – that is rooted in a synthesis of perception, theory and embodied actions.This perspective explores a new expressivity of sound in which the sound itself is the point of convergence for creative impulses and perceptual motives, sound being the common territory between composer and listener. By developing the idea of an ecstatic-sonic-materialism, various works across different genres can be brought together according to this mutual convergence on sound that embodies acoustic...
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This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are... more
This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are often associated, during listening, with visual and tactile sensorial qualities and with abstract geometries. They are perceived fundamentally as the results of acoustic-physical forces and energies and are organized according to Gestalt and kinesthetic principles. This kind of music calls for a specific listening attitude, which we define as the vertical stance, and seems particularly apt to respond to mechanisms of the working memory where echoic, short-and long-term memories assume a central role. In this vertical stance, memory is involved in the mental construction (segregation, storage, and prediction) of the Gestalt configurations of this music within a perceptual domain that crucially has no spatial connection to the external world. In tying in neurophysiological and psychological research with musicological theories, we discuss the perceptual approach to these music practices in the light of the philosophical concept of the 'No-Space world' as conceived by the philosopher Peter Strawson. We propose that-under certain conditions-memory may be the realm of the purely spectro-temporal features of music. The sound configurations of this music in particular are part of an internalexternal perceptual framework, being decoded in the conceptual space of perception and able to elicit high-order recollections typical of an embodied engagement with the external world.
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By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the... more
By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the early stage of perception. These styles of music are characterised by essential sound configurations that evolve in time, thus eliciting a sensorial impact which transcends features regarding sound sources and affective responses. Listeners grasp what Scruton calls ‘pure events’ in a ‘world of sound’, being able to distinguish, separate and sort acoustic stimuli. The article establishes a key parallel among seminal works of Bregman, McAdams, Kubovy, Bayle and other authors, highlighting a fundamental agreement of perceptual studies in psychology, neurophysiology and musicology for the understanding of the early stage of sound perception. Music practices typical of this perspective develop certain sound configurations, such as figure/ground arrangeme...
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The study of chelating ligands is undoubtedly one of the most significant fields of research in chemistry. The present work is directed to the synthesis of new functionalized derivatives of tripodal C-scorpionate compounds.... more
The study of chelating ligands is undoubtedly one of the most significant fields of research in chemistry. The present work is directed to the synthesis of new functionalized derivatives of tripodal C-scorpionate compounds. Tris-2,2,2-(1-pyrazolyl)ethanol, HOCH2C(pz)3 (1), one of the most important derivatives of hydrotris(pyrazolyl)methane, was used as a building block for the synthesis of new functionalized C-scorpionates, aiming to expand the scope of this unexplored class of compounds. The first dendritic C-scorpionate was successfully prepared and used in the important industrial catalytic reactions, Sonogashira and Heck C-C cross-couplings.
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Polycyclic aromatic hydrocarbons (PAHs) are persistent pollutants present in the environment with known mutagenic and carcinogenic properties. In the present study the effects of exposure to single or multiple doses of benzo[a]anthracene... more
Polycyclic aromatic hydrocarbons (PAHs) are persistent pollutants present in the environment with known mutagenic and carcinogenic properties. In the present study the effects of exposure to single or multiple doses of benzo[a]anthracene (BaA), pyrene (Pyr), and 3 halogenated derivatives of these compounds (1-chloropyrene, 1-bromopyrene [1-BrPyr], and 7-chlorobenzo[a]anthracene [7-ClBaA]) were evaluated in a liver-derived human cell line (HepG2). Cytotoxicity as assessed by the classic 3-(4,5-dimethylthiazol-2-yl)-2,5-diphenyltetrazolium bromide (MTT) and neutral red assays showed a mild toxic effect in response to single or multiple dose exposure for up to 72 h, except for multiple dose exposure to BaA and 7-ClBaA (1 μM/d for 4 d) and single exposure to 10 μM BaA. Furthermore, selective mitochondrial and lysosomal toxicity was observed for Pyr and BaA series, respectively. To understand the underlying molecular mechanisms responsible for this effect, reactive oxygen species product...
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Quinoid electrophiles from the nevirapine metabolites, 2-OH- and 3-OH-nevirapine, react with nitrogen-based bionucleophiles yielding covalent adducts.
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We report the oxidation of the first line anti-HIV drug efavirenz (EFV), mediated by a bio-inspired nonheme Fe-complex. Depending upon the experimental conditions this system can be tuned either to yield the major EFV metabolite,... more
We report the oxidation of the first line anti-HIV drug efavirenz (EFV), mediated by a bio-inspired nonheme Fe-complex. Depending upon the experimental conditions this system can be tuned either to yield the major EFV metabolite, 8-hydroxy-EFV, in enantiomerically pure form or to mimic cytochrome P450 (CYP) activity, yielding 8-hydroxy-EFV and 7-hydroxy-EFV, the two phenolic EFV metabolites reported to be formed in vivo. The successful oxidation of the anti-estrogen tamoxifen and the equine estrogen equilin into their CYP-mediated metabolites supports the general application of bio-inspired nonheme Fe-complexes in mirroring CYP activity.
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The potential for co-prescription of the anti-human immunodeficiency virus (anti-HIV) drug efavirenz (EFV) and the oral anticoagulant warfarin (WAR) is currently high as EFV is a drug of choice for HIV type 1 infection and because... more
The potential for co-prescription of the anti-human immunodeficiency virus (anti-HIV) drug efavirenz (EFV) and the oral anticoagulant warfarin (WAR) is currently high as EFV is a drug of choice for HIV type 1 infection and because cardiovascular disease is increasing among HIV-infected individuals. However, clinical reports of EFV-WAR interaction, leading to WAR overdosing, call for elucidation of the mechanisms involved in this drug-drug interaction. Here we present the first report demonstrating competition of the two drugs for the same binding site of human serum albumin. Using ligand-based nuclear magnetic resonance experiments, this study proves that EFV has an effect on the concentration of free WAR. This previously unidentified EFV-WAR interaction represents a potential risk factor that should be taken into account when considering treatment options.
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Research Interests: Organic Chemistry, Tandem Mass Spectrometry, High Performance Liquid Chromatography, High Pressure Liquid Chromatography, Liquid Chromatography / Electrospray Ionization Mass Spectrometry, and 5 morePhenols, Oxidation, ESI, Pharmacology and pharmaceutical sciences, and reverse transcriptase inhibitors
ABSTRACT The new dianionic dinickel(II) complex [NBu4]2[Ni2(L)2] {L3– = trianionic form of 3,5-di-tert-butyl-2-hydroxy-N-(2-hydroxyethyl)benzamide} has been synthesised and characterised by 1H, 13C NMR and IR spectroscopy, mass... more
ABSTRACT The new dianionic dinickel(II) complex [NBu4]2[Ni2(L)2] {L3– = trianionic form of 3,5-di-tert-butyl-2-hydroxy-N-(2-hydroxyethyl)benzamide} has been synthesised and characterised by 1H, 13C NMR and IR spectroscopy, mass spectrometry, elemental analysis and X-ray crystallography. The X-ray structure of [NBu4]2[Ni2(L)2]·EtOH·CH3CN reveals a quasiplanar dinickel(II) dianionic complex, each of the NiII ions possessing a NO3 planar coordination sphere that results from the ligation of L3– in a NO2 fashion through the N-amidate, O-phenolate and O-bridging alcoholate donor atoms. The cyclic voltammogram of [Ni2(L)2]2– reveals two one-electron reversible oxidation processes at relatively low potentials. The EPR and UV/Vis spectroscopic characterisations of the electrochemically generated one-electron- and two-electron-oxidised products are consistent with two ligand-based oxidation processes leading to the formation of relatively stable mono- and diphenoxyl radical complexes, [Ni2(L·)(L)]– and [Ni2(L·)2], respectively.
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The synthesis and characterisation of the new di-compartmental bis-(2-hydroxyisophtalamide) macrocyclic pro-ligand, LH(6), which comprises two phenol-diamide units linked by ethylene bridges, is herein reported, together with its... more
The synthesis and characterisation of the new di-compartmental bis-(2-hydroxyisophtalamide) macrocyclic pro-ligand, LH(6), which comprises two phenol-diamide units linked by ethylene bridges, is herein reported, together with its corresponding di-phenolate salt, [NBu(4)](2)[LH(4)]. The three macrocyclic compounds, [LH(4)(OMe)(2)] (protected ligand), LH(6) and [LH(4)][NBu(4)](2) were fully characterised including X-ray crystallography for [LH(4)(OMe)(2)] and [NBu(4)](2)[LH(4)]. The results of solid-state and solution studies have indicated that the macrocycle can adopt specific conformations, which are influenced by H-bonding interactions as well as the deviation of the amide carbonyl relative to the phenol plane. LH(6) reacts with M(II)(acetate)(2)·(H(2)O)(6) (M = Ni, Cu) in a 1 : 1 ratio in the presence of 4 eq of [NBu(4)](OH) in methanol to afford the dianionic [M(LH(2))](2-) complexes, (2-) and (2-), respectively. The X-ray crystallography, EPR, NMR and UV-vis spectroscopic data, combined with DFT calculations, indicate that (2-) and (2-) are unique unsymmetrical square planar mononuclear complexes that are intramolecularly H-bonded. Thus, one macrocyclic compartment contains a M(II)-N(2)O(2) centre resulting from the tetra-anionic di-phenolato di-amidato ligation; the other compartment possesses two protonated amide N-H groups that are H-bonded the coordinated phenolate O atoms. This represents a unique example in which a phenolate is both coordinated and intramolecularly H-bonded. This H-bonding appears unusually strong as revealed by N(H/D) exchange experiments; and may be responsible for the stability of the mononuclear complex, and the difficulty in isolating the corresponding dinuclear complex [M(2)(L)](2-).
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trans-[MoX(2)(dppe)(2)] (X = I, Br) act as inner-sphere electron-transfer mediators for the electrocatalytic reduction of organohalides RX to R + X(-), at both Mo(II)--> Mo(I)... more
trans-[MoX(2)(dppe)(2)] (X = I, Br) act as inner-sphere electron-transfer mediators for the electrocatalytic reduction of organohalides RX to R + X(-), at both Mo(II)--> Mo(I) and Mo(I)--> Mo(0) reduction processes, each of them involving a cathodically induced heterolytic metal-halide bond cleavage with liberation of X(-) that is followed by addition of RX to the metal. Digital simulation of cyclic voltammetry at a wide range of scan rates allowed to estimate the rate constants of the various chemical steps for both electrocatalytic cycles, which were compared in terms of Mo-X bond dissociation energies, electronic and stereochemical effects.
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linear notes of the 2016 - CD “Alvin Lucier - Two Circles” performed by AlterEgo [CD]. Mode Records.
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Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to... more
Throughout the 20th century, certain currents within experimental music can be seen as moving progressively towards a more explicit interest in the intrinsic properties of sound; as Bériachvili puts it, ‘from the emancipation of timbre to the exploration of sound’; Solomos identifies a change of model: ‘from a musical civilisation centred on the sound’ to ‘a musical civilisation of sound’, and he recognises that this change is plural. Within this frame of reference, one can identify that starting from the mid-twentieth century certain trends (i.e. non-teleological perspectives; the fusion of electronic, acoustic and concrete sounds and the extended use of sound spectra) were simultaneously developed as the cardinal principles of artistic practice across distant genres of music. Today, common practices are found across distant styles: such as a flexible approach to harmony, the enormous extension of timbric range, the creative use of new technologies, and, above all, the sculptural approach to sound as a matter to mould. Starting from Scelsi’s definition of “Spherical Sound”, this paper presents a particular perspective, shared across various currents of today’s music that focuses on SOUND itself as a complex, dense and tangible entity. Through theoretical and perceptual examinations, this study explores a new method for comparing different genres of music characterized by a similar approach to sound. This strategy is applied to postspectralist compositions (Haas, Lang), as well as glitch, electronic pieces (PanSonic, Ikeda). Common musical attributes are identified that help trace a new outlook on various styles. The study's contribution lies in its revealing of a shared perspective between different musical practices, reflecting in how distant pieces could be treated. It would facilitate artistic convergences and it help in the creation of didactic and academic platforms for the study of diverse musical contexts within a unified sonic framework. [16th Annual Congress of the Society for Music Theory (GMTH) / 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) “Klang: Wundertüte oder Stiefkind der Musiktheorie”, Hannover, Germany. 30.-2. October 2016]
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This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential musical elements... more
This paper looks over a selection of pieces belonging to distant genres of today's music, in order to identify common practices to approach sound. Through audio, spectral and score analyses, this study examines essential
musical elements (e.g. pulse, spectral properties, dynamic contrast, spatial arrangements) their characteristics and effects. This method has been applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). The analysis reveals nine musical attributes that are common within the selection of pieces. These attributes
indicate parallels, similar perspectives and a common affnity among different genres. The study contributes essentially by minimising artistic distances and establishing shared musical conceptions.
musical elements (e.g. pulse, spectral properties, dynamic contrast, spatial arrangements) their characteristics and effects. This method has been applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). The analysis reveals nine musical attributes that are common within the selection of pieces. These attributes
indicate parallels, similar perspectives and a common affnity among different genres. The study contributes essentially by minimising artistic distances and establishing shared musical conceptions.
Research Interests:
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular... more
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond – but still related to – it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge.