Carlo Serafini: Difference between revisions
Wikispaces>seraph57 **Imported revision 486217394 - Original comment: ** |
Wikispaces>seraph57 **Imported revision 554816829 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:seraph57|seraph57]] and made on <tt> | : This revision was by author [[User:seraph57|seraph57]] and made on <tt>2015-07-01 17:00:27 UTC</tt>.<br> | ||
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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it was in the 80's. I was an international student (from Italy) at Berklee College of Music in Boston, MA studying music synthesis. I heard about Wendy Carlos and her "//Beauty in the Beast//" I was (and still am) very impressed by that album. I bought "//Tuning In: Microtonality in Electronic Music: A Basic Guide to Using Alternate Scales. Temperaments and Microtuning using Synthesizers//" by Scott Wilkinson and tried to apply what I was learning retuning a couple of Yamaha synths I had: TX81Z and TX802 but trying to retune each and every note of the 128 midi pitches by hand was way too much for me and gave up, plus, I wasn't ready and my interest remained dormant for almost 20 years until I started thinking about what could be the subject of a dissertation for my master's degree in music and new technology at the Conservatory of Music in Florence, Italy. | it was in the 80's. I was an international student (from Italy) at Berklee College of Music in Boston, MA studying music synthesis. I heard about Wendy Carlos and her "//Beauty in the Beast//" I was (and still am) very impressed by that album. I bought "//Tuning In: Microtonality in Electronic Music: A Basic Guide to Using Alternate Scales. Temperaments and Microtuning using Synthesizers//" by Scott Wilkinson and tried to apply what I was learning retuning a couple of Yamaha synths I had: TX81Z and TX802 but trying to retune each and every note of the 128 midi pitches by hand was way too much for me and gave up, plus, I wasn't ready and my interest remained dormant for almost 20 years until I started thinking about what could be the subject of a dissertation for my master's degree in music and new technology at the Conservatory of Music in Florence, Italy. | ||
After much thinking I came up with this title “//Technology and Temperament: Hardware, Software and Online Resources for Microtonal Music//” and started gathering informations (you can find it | After much thinking I came up with this title “//Technology and Temperament: Hardware, Software and Online Resources for Microtonal Music//” and started gathering informations (you can find it [[http://www.seraph.it/blog_files/e5d36b2e021967c47d0e5a25155bb4be-125.html/|here]]). | ||
**What instruments or means have you had/do you have now/do you want for the making of microtonal music?** | **What instruments or means have you had/do you have now/do you want for the making of microtonal music?** | ||
During the researches for my dissertation I stumbled upon a great piece of software: | During the researches for my dissertation I stumbled upon a great piece of software: LMSO by X.J. Scott | ||
I bought it and with Jeff Scott's help I started experimenting. A new world opened up! Intervals I had never thought possible unfolded in front of me. All kinds of scales, exotic, weird, beautiful, ugly ones appeared. In the meantime I started reading and studying many books, among them: "//The Just Intonation Primer//" by David Doty "//On the Sensations of Tone//" by Hermann Helmholtz and Alexander Ellis and "//Genesis of a Music//" by Harry Partch and searched everything I could find on the internet (music, articles and everything else). | I bought it and with Jeff Scott's help I started experimenting. A new world opened up! Intervals I had never thought possible unfolded in front of me. All kinds of scales, exotic, weird, beautiful, ugly ones appeared. In the meantime I started reading and studying many books, among them: "//The Just Intonation Primer//" by David Doty "//On the Sensations of Tone//" by Hermann Helmholtz and Alexander Ellis and "//Genesis of a Music//" by Harry Partch and searched everything I could find on the internet (music, articles and everything else). | ||
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it was in the 80's. I was an international student (from Italy) at Berklee College of Music in Boston, MA studying music synthesis. I heard about Wendy Carlos and her &quot;<em>Beauty in the Beast</em>&quot; I was (and still am) very impressed by that album. I bought &quot;<em>Tuning In: Microtonality in Electronic Music: A Basic Guide to Using Alternate Scales. Temperaments and Microtuning using Synthesizers</em>&quot; by Scott Wilkinson and tried to apply what I was learning retuning a couple of Yamaha synths I had: TX81Z and TX802 but trying to retune each and every note of the 128 midi pitches by hand was way too much for me and gave up, plus, I wasn't ready and my interest remained dormant for almost 20 years until I started thinking about what could be the subject of a dissertation for my master's degree in music and new technology at the Conservatory of Music in Florence, Italy.<br /> | it was in the 80's. I was an international student (from Italy) at Berklee College of Music in Boston, MA studying music synthesis. I heard about Wendy Carlos and her &quot;<em>Beauty in the Beast</em>&quot; I was (and still am) very impressed by that album. I bought &quot;<em>Tuning In: Microtonality in Electronic Music: A Basic Guide to Using Alternate Scales. Temperaments and Microtuning using Synthesizers</em>&quot; by Scott Wilkinson and tried to apply what I was learning retuning a couple of Yamaha synths I had: TX81Z and TX802 but trying to retune each and every note of the 128 midi pitches by hand was way too much for me and gave up, plus, I wasn't ready and my interest remained dormant for almost 20 years until I started thinking about what could be the subject of a dissertation for my master's degree in music and new technology at the Conservatory of Music in Florence, Italy.<br /> | ||
After much thinking I came up with this title “<em>Technology and Temperament: Hardware, Software and Online Resources for Microtonal Music</em>” and started gathering informations (you can find it | After much thinking I came up with this title “<em>Technology and Temperament: Hardware, Software and Online Resources for Microtonal Music</em>” and started gathering informations (you can find it <a class="wiki_link_ext" href="http://www.seraph.it/blog_files/e5d36b2e021967c47d0e5a25155bb4be-125.html/" rel="nofollow">here</a>).<br /> | ||
<br /> | <br /> | ||
<strong>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</strong><br /> | <strong>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</strong><br /> | ||
<br /> | <br /> | ||
During the researches for my dissertation I stumbled upon a great piece of software: | During the researches for my dissertation I stumbled upon a great piece of software: LMSO by X.J. Scott<br /> | ||
I bought it and with Jeff Scott's help I started experimenting. A new world opened up! Intervals I had never thought possible unfolded in front of me. All kinds of scales, exotic, weird, beautiful, ugly ones appeared. In the meantime I started reading and studying many books, among them: &quot;<em>The Just Intonation Primer</em>&quot; by David Doty &quot;<em>On the Sensations of Tone</em>&quot; by Hermann Helmholtz and Alexander Ellis and &quot;<em>Genesis of a Music</em>&quot; by Harry Partch and searched everything I could find on the internet (music, articles and everything else).<br /> | I bought it and with Jeff Scott's help I started experimenting. A new world opened up! Intervals I had never thought possible unfolded in front of me. All kinds of scales, exotic, weird, beautiful, ugly ones appeared. In the meantime I started reading and studying many books, among them: &quot;<em>The Just Intonation Primer</em>&quot; by David Doty &quot;<em>On the Sensations of Tone</em>&quot; by Hermann Helmholtz and Alexander Ellis and &quot;<em>Genesis of a Music</em>&quot; by Harry Partch and searched everything I could find on the internet (music, articles and everything else).<br /> | ||
<br /> | <br /> | ||
My microtonal studies can be heard <a class="wiki_link_ext" href="http://www.seraph.it/Detwelvulation.html" rel="nofollow"> here</a>. Read my <a class="wiki_link_ext" href="http://www.seraph.it/blog.html" rel="nofollow">blog</a> for more informations.</body></html></pre></div> | My microtonal studies can be heard <a class="wiki_link_ext" href="http://www.seraph.it/Detwelvulation.html" rel="nofollow"> here</a>. Read my <a class="wiki_link_ext" href="http://www.seraph.it/blog.html" rel="nofollow">blog</a> for more informations.</body></html></pre></div> | ||