The work describes the concept of disklavier Yamaha (player-piano) with electronics, the concept of a sampler with sampled human voice controlled by an Ondéa interface (Martenot waves) by J. Krejčík and the concept of the interactive piano by J.-C. Risset.
The examples of pieces composed on the basis of these concepts show, how these concepts have affected their definitive music form. The work undertakes a review of the relationship between a musician's gesture and an instrument interface and its relevance to musical perception and thinking. . The work is complemented with a summary of the historical development of player-piano, and Martenot waves.
Identifer | oai:union.ndltd.org:nusl.cz/oai:invenio.nusl.cz:178062 |
Date | January 2013 |
Creators | Krejčík, Jan |
Contributors | BARTOŇ, Hanuš, GUŠTAR, Milan |
Publisher | Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna |
Source Sets | Czech ETDs |
Language | Czech |
Detected Language | English |
Type | info:eu-repo/semantics/doctoralThesis |
Rights | info:eu-repo/semantics/restrictedAccess |
Page generated in 0.0018 seconds