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Database Music: A History, Technology, and Aesthetics of the Database in Music Composition = = Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical..

Record Type:	Electronic resources : Monograph/item
Title/Author:	Database Music: A History, Technology, and Aesthetics of the Database in Music Composition =/
Reminder of title:	Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical..
Author:	Camara Halac, Federico Nicolas.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	250 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-02, Section: B.
Contained By:	Dissertations Abstracts International81-02B.
Subject:	Musical composition. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13811347
ISBN:	9781085674775

Database Music: A History, Technology, and Aesthetics of the Database in Music Composition = = Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical..
Camara Halac, Federico Nicolas.

Database Music: A History, Technology, and Aesthetics of the Database in Music Composition =Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical.. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 250 p.

Source: Dissertations Abstracts International, Volume: 81-02, Section: B.

Thesis (Ph.D.)--New York University, 2019.

This item must not be sold to any third party vendors.

The aim of this dissertation is to outline a framework to discuss the aesthetic agency of the database in music composition. I place my dissertation in relation to existing scholarship, artists, and developers working in the fields of music composition, computer science, affect, and ontology, with emphasis on the ubiquity of databases and on the need to reflect on their practice, particularly in relation to databasing and music composition. There is a database everywhere, anytime, always already affecting our lives; it is an agent in our aesthetic and political lives just as much as we are agents in its composition and performance. Database music lives in between computers and sound. My argument is that in order to conceptualize the agency of the database in music composition, we need to trace the history of the practice, in both its technical and its artistic use, so as to find nodes of action that have an effect on the resulting aesthetics. Therefore, this dissertation is composed of two main sections.In the first part, I trace a history of database practices from three points of view. The first is from new media theory, emphasizing the intersection between the database and the body. The second is from the history of the database in computer science, giving a panoramic view of the tools and concepts behind database systems, models, structures. The third is from their use in sound practices, describing different approaches to databasing from the fields of music information retrieval, sonification, and computer music.In the second part, I discuss the agency of the database under the broader concepts of sound, self, and community. These three axes are addressed in four sections, each with a different perspective. First I focus on listening and present the database as a resonant subject in a networked relation and community with the human. Second, I focus on memory, comparing human memory and writing with digital information storing, thus relating databasing and composition with memory, archives, and their spectrality. Third, I analyze the performativity of databasing, understanding the database as gendered, in its temporality, repetition, and in its contingent appearance as style, skin, and timbre. In the last section, I revise the notion of music work, reflecting on the consequences of the anarchic and the inoperative in the community of database music.As an appendix, I present an open-source library for making and performing a multimodal database that combines computer vision and timbre analysis algorithms to generate a database of image and audio descriptors suitable for automated navigation, querying, and live audio-visual performance.

ISBN: 9781085674775Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Archive

Database Music: A History, Technology, and Aesthetics of the Database in Music Composition = = Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical..
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245 1 0 $a Database Music: A History, Technology, and Aesthetics of the Database in Music Composition = $b Musica con base de datos: historia, tecnologia, y esteticas de la base de datos en la composicion musical..
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 250 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-02, Section: B.
500 $a Advisor: Oliver La Rosa, Jaime E.
502 $a Thesis (Ph.D.)--New York University, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a The aim of this dissertation is to outline a framework to discuss the aesthetic agency of the database in music composition. I place my dissertation in relation to existing scholarship, artists, and developers working in the fields of music composition, computer science, affect, and ontology, with emphasis on the ubiquity of databases and on the need to reflect on their practice, particularly in relation to databasing and music composition. There is a database everywhere, anytime, always already affecting our lives; it is an agent in our aesthetic and political lives just as much as we are agents in its composition and performance. Database music lives in between computers and sound. My argument is that in order to conceptualize the agency of the database in music composition, we need to trace the history of the practice, in both its technical and its artistic use, so as to find nodes of action that have an effect on the resulting aesthetics. Therefore, this dissertation is composed of two main sections.In the first part, I trace a history of database practices from three points of view. The first is from new media theory, emphasizing the intersection between the database and the body. The second is from the history of the database in computer science, giving a panoramic view of the tools and concepts behind database systems, models, structures. The third is from their use in sound practices, describing different approaches to databasing from the fields of music information retrieval, sonification, and computer music.In the second part, I discuss the agency of the database under the broader concepts of sound, self, and community. These three axes are addressed in four sections, each with a different perspective. First I focus on listening and present the database as a resonant subject in a networked relation and community with the human. Second, I focus on memory, comparing human memory and writing with digital information storing, thus relating databasing and composition with memory, archives, and their spectrality. Third, I analyze the performativity of databasing, understanding the database as gendered, in its temporality, repetition, and in its contingent appearance as style, skin, and timbre. In the last section, I revise the notion of music work, reflecting on the consequences of the anarchic and the inoperative in the community of database music.As an appendix, I present an open-source library for making and performing a multimodal database that combines computer vision and timbre analysis algorithms to generate a database of image and audio descriptors suitable for automated navigation, querying, and live audio-visual performance.
520 $a El objetivo de esta tesis es delinear un marco para discutir la agencia estetica de la base de datos en la composicion musical. Pongo mi tesis en relacion con investigaciones existentes de artistas y desarrolladores que trabajan en los campos de la composicion musical, la informatica, el afecto y la ontologia, haciendo enfasis en la ubicuidad de las bases de datos y en la necesidad de reflexionar sobre su practica, particularmente en relacion con lo que llamo 'databasing' (la performance de la base de datos) y la composicion musical. Hay una base de datos en todas partes, en cualquier momento, siempre ya afectando nuestras vidas; son agentes en nuestras vidas esteticas y politicas tanto como nosotros lo somos en su composicion y performance. La musica de la base de datos vive entre las computadoras y el sonido. Mi argumento es que para conceptualizar la agencia de la base de datos en la composicion musical, es necesario trazar la historia de la practica, tanto en su uso tecnico como artistico, para encontrar nodos de accion que inciden en la estetica que resulta. Por lo tanto, esta tesis se compone de dos secciones principales.En la primera parte, trazo una historia de practicas de bases de datos desde tres puntos de vista. La primera es de la teoria de los nuevos medios, enfatizando la interseccion entre la base de datos y el cuerpo. El segundo es de la historia de la base de datos en la informatica, dando una vision panoramica de las herramientas y conceptos detras de los sistemas, modelos y estructuras de la base de datos. La tercera es de su uso en practicas de sonido, describiendo diferentes enfoques de la creacion de bases de datos desde los campos de la recuperacion de informacion musical (MIR), la sonificacion y la musica por computadora.En la segunda parte, discuto la agencia de la base de datos bajo los conceptos mas amplios de sonido, el ser y comunidad. Estos tres ejes se abordan en cuatro secciones, cada una con una perspectiva diferente. Primero me enfoco en la escucha, presentando la base de datos como un sujeto resonante en una relacion de red y comunidad con lo humano. En segundo lugar, me concentro en la memoria, comparando la memoria humana y la escritura con el almacenamiento de informacion digital, relacionando asi la base de datos y la composicion con la memoria, los archivos y su espectralidad. Tercero, analizo la performatividad de la base de datos, entendiendo a la misma bajo una concepcion de genero, en su temporalidad, repeticion, y en su apariencia contingente como estilo, piel y timbre. En la ultima seccion, reviso la nocion de obra musical, reflexionando sobre las consecuencias de lo anarquico y lo inoperante en la comunidad de la musica de base de datos.Como apendice, presento una biblioteca de codigo abierto para la creacion y performance de una base de datos multimodal que combina algoritmos de analisis de vision por computadora y de timbre para generar una base de datos de descriptores de imagenes y sonido adecuados para la navegacion automatizada, la busqueda y la performance audiovisual en vivo.
590 $a School code: 0146.
650 4 $a Musical composition. $3 3289630
650 4 $a Computer science. $3 523869
650 4 $a Philosophy. $3 516511
653 $a Archive
653 $a Composition
653 $a Databasing
653 $a Inoperativity
653 $a Performativity
653 $a Resonance
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690 $a 0984
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710 2 $a New York University. $b Music. $3 1028121
773 0 $t Dissertations Abstracts International $g 81-02B.
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791 $a Ph.D.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13811347