Music without musicians ... but with scientists, technicians and computer companies

dc.contributor.authorParolini, Giuditta
dc.date.accessioned2017-11-23T12:53:49Z
dc.date.available2017-11-23T12:53:49Z
dc.date.issued2017
dc.descriptionDieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.de
dc.descriptionThis publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.en
dc.description.abstractIn the early days of music technologies the collaboration between musicians, scientists, technicians and equipment producers was very close. How did this collaboration develop? Why did scientific, business, and musical agendas converge towards a common goal? Was there a mutual exchange of skills and expertise? To answer these questions this article will consider a case study in early computer music. It will examine the career of the Italian cellist and composer Pietro Grossi (1917–2002), who explored computer music with the support of mainframe manufacturers, industrial R&D, and scientific institutions. During the 1970s, Grossi became an eager programmer and achieved a first-hand experience of computer music, writing several software packages. Grossi was interested in avant-garde music as an opportunity to make ‘music without musicians’. He aimed at a music composed and performed by machines, and eventually, he achieved this result with his music software. However, to accomplish it, Grossi could not be a lonely pioneer; he had to become a member, albeit an atypical one, of the Italian computing community of the time. Grossi’s story, thus, can tell us much about the collaborative efforts stimulated by the use of early computer technologies in sound research, and how these efforts developed at the intersection of science, art and industry.en
dc.identifier.eissn1469-8153
dc.identifier.issn1355-7718
dc.identifier.urihttps://depositonce.tu-berlin.de/handle/11303/7174
dc.identifier.urihttp://dx.doi.org/10.14279/depositonce-6449
dc.language.isoen
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/
dc.subject.ddc780 Musik
dc.titleMusic without musicians ... but with scientists, technicians and computer companiesen
dc.typeArticle
dc.type.versionpublishedVersion
dcterms.bibliographicCitation.doi10.1017/s135577181700019x
dcterms.bibliographicCitation.issue2
dcterms.bibliographicCitation.journaltitleOrganised sound
dcterms.bibliographicCitation.originalpublishernameCambridge University Press
dcterms.bibliographicCitation.originalpublisherplaceCambridge
dcterms.bibliographicCitation.pageend296
dcterms.bibliographicCitation.pagestart286
dcterms.bibliographicCitation.volume22
tub.accessrights.dnbdomain*
tub.affiliationFak. 1 Geistes- und Bildungswissenschaften::Inst. Philosophie-, Literatur-, Wissenschafts- und Technikgeschichte::FG Wissenschaftsgeschichtede
tub.affiliation.facultyFak. 1 Geistes- und Bildungswissenschaftende
tub.affiliation.groupFG Wissenschaftsgeschichtede
tub.affiliation.instituteInst. Philosophie-, Literatur-, Wissenschafts- und Technikgeschichtede
tub.publisher.universityorinstitutionTechnische Universität Berlin

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