Msica e Mediao Tecnolgica

Prof. Fernando Iazzetta

UFPB - 2 a 6 de maio de 2011

1. Introdução

2. Registro Sonoro

  • Thompson, E. (1995). Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925. The Musical Quarterly 79(1): 131-171.
  • Philip, Robert (1992). Implications for the future. In: Early recordings and musical style: changing tastes in instrumental performance, 1900-1950. New York: Cambridge University Press, pp. 229-240.

    • 3. Difusão Musical

  • Freire, Sérgio (2003). Early Musical Impressions from Both Sides of the Loudspeaker. Leonardo Music Journal, Vol. 13, pp. 67-71.
  • Biocca, F. (1988). The pursuit of sound: radio, perception and utopian in the early twentieth century. Media, Culture and Society 10(1): 61-79.
  • Sessions, R. (1962). The Musical Experience of Composer, Performer, Listener. New York, Atheneum. First published by Princeton University Press, 1950.
  • Weill, K. (1984). Radio and the Restructuring of Musical Life (1926). Writings of German Composers. J. Hermand and J. Steakley. New York, Continuum: 262-265.
  • Gould, Glenn (2004) [1966]. The prospects of recording. Em Audio Culture: readings in moderns music, Cox, C. & Warner, D. (Eds), New York: Continuum, pp.115-130.

    • 4. Música Eletroacústica e Experimental

  • Barrière, F. (1995). Reflections on the state of electroacoustic music today: aesthetic evolution and relation with the public. Aesthetics and Electroacoustic Music. Vol. 1, 1995. Acteon Mnemosyne.
  • Holmes, T. (2002). Electronic and Experimental Music. New York: Routledge, 2.a Ed.
  • Nyman, Michael (1999). A View from the Bus: When Machines Make Music. Perspectives of New Music 28(2): 102-110.
  • Chion, M. (1997?). Os seis efeitos técnicos de base. In: Músicas, media e tecnologia. Lisboa, Instituto Piaget.
  • Gould, Glenn (2004) [1966]. The prospects of recording. In: Audio Culture: readings in moderns music, Cox, C. & Warner, D. (Eds), New York: Continuum, pp.115-130.

    • 6. Materialidade Sonora

  • Risset, J.-C. (1993). Synthèse et matériau musical. Cahier de L'IRCAM - 2. Paris, IRCAM: 43-66.
  • Binkley, T. (1995). Transparent Technology - The Swan Song of Electronics. Leonardo 28(1): 427-432.
  • Kahn, D. (1999). The Sound of Music. Ars Electronica - Facing the future. T. Druckrey. Cambridge, Massachusetts, The MIT Press: 192-201.
  • Dalbavie, M.-A. (1991). Pour sortir de l'avant-garde. Le Timbre - Métaphore pour la composition. J.-B. Barrière. Paris, Christian Bourgois Éditeur / I.R.C.A.M.: 303-334.

    • 7. Expansão Eletrônica

  • Boddy, W. (1994). Archeologies of electronic vision and the gendered spectator. Screen 35(2): 105-122.
  • Campesato, Lílian. A Matamorphoses of the muses: referential and contextual aspects in sound art. Organised Sound, Cambridge University Press, 14(1): 27-37, 2009.
  • Freire, Cristina. Arte conceitual. Rio de Janeiro: Jorge Zahar Editor, 2006.
  • Taylor, T. D. (2001). Strange Sounds: music, technology & culture. New York, Routledge.
  • Theberge, P. (1997). Any sound you can imagine: making music/consuming technology. Hanover - London, Weslayan University Press.

    • 8. Tecnocultura

  • Emmerson, S. (2001). From Dance! to 'Dance': Distance and Digits. Computer Music Journal 25(1): 13-20.
  • Riddell, A. (2001). Data culture generation: after content, process as aesthetic. Leonardo 34(4): 337-343.
  • Cutler, Chris. Plunderphonics. In: Emmerson, Simon (ed.). Music, Electronic Media and Culture. Aldershot: Ashgate, 2000.
  • Stuart, C. (2003). Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval. LEONARDO MUSIC JOURNAL, Vol. 13, pp. 4752.

    • 9. Cultura Digital

  • Rutsky, R. L. (1999). High Techne.The spirit of utopia and the birth of cinematic machine. In: Art and technology from the machine aesthetic to the posthuman. Minneapolis - London: Minnesota University Press.
  • Cascone, K. (2000). The aesthetics of failure: post-digital tendencies in contemporary computer music. Computer Music Journal 24(4): 12-18.
  • Levin, Elias (1999). New Spaces for interpretation of sound. Em José Antonio Orts, Catálogo da Exposição, Consorcio de Museos de la Comunidad Valenciana, pp. 130-138.
  • Bourriaus, Nicolas (2009). Pós-Producão: Como a Arte Contemporânea Reprograma o Mundo Comtemporâneo. Trad. Denise Bottmann. São Paulo: Martins Fontes.