{"id":6441,"date":"2013-11-06T00:00:00","date_gmt":"2013-11-05T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/6441\/"},"modified":"2024-08-13T15:35:58","modified_gmt":"2024-08-13T13:35:58","slug":"6441","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2013\/11\/6441","title":{"rendered":"Lavoro standard per gli specialisti"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/NeukomAus.jpg\" alt=\"\" width=\"554\" height=\"361\" \/><figcaption class=\"wp-caption-text\">Estratto dalla copertina del libro<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Le sue origini risalgono al 1957: il compositore americano Max Mathews compose la prima opera digitale della storia della musica su un computer IBM 709. \u00c8 lunga 17 secondi e suona oggi come i modulatori ad anello analogici utilizzati da Karlheinz Stockhausen, Karel Goeyvaerts e Gottfried Michael Koenig a Colonia. Poco accadde subito dopo il 1957. Solo negli anni Settanta le cose si sono mosse: nel 1974 si \u00e8 tenuta la prima conferenza sulla computer music. A partire dal 1977, il <em>Rivista di musica per computer<\/em>che ancora oggi riflette sviluppi che possono essere armonizzati solo in misura molto limitata con la strumentologia e la teoria dell'armonia.<\/p>\n<p>Questo vale anche per il <em>Segnali, sistemi e sintesi sonora<\/em>. Gerald Bennett, fondatore dell'ex Istituto di Zurigo per la musica computerizzata e la tecnologia del suono, si \u00e8 preso la briga di tradurre il libro pubblicato da Martin Neukom nel 2003, includendo una serie di revisioni e aggiunte. Il risultato \u00e8 un'opera standard, anche se per specialisti. Da un lato, ci\u00f2 \u00e8 dovuto alla marea di nuovi programmi di composizione e alla diversificazione della produzione musicale digitale, che comprende aree eterogenee come la Fast Fourier Transformation, la sintesi granulare e il lavoro con le patch di Max. D'altra parte, la complessit\u00e0 risiede nella metodologia. Le argomentazioni di Neukom sono strettamente matematiche. Anche i fondamenti acustici relativamente semplici, come la propagazione delle onde sonore o la differenziazione tra forza e intensit\u00e0 del suono, si espandono rapidamente in aree problematiche complesse che l'esperto di acustica pu\u00f2 comprendere, ma che sfuggono alla comprensione dello storico della musica meno numeroso.<\/p>\n<p>Neukom e Bennett hanno incluso nel tomo di oltre 600 pagine un CD che offre esempi sonori oltre al contenuto completo del libro. Poich\u00e9 la maggior parte dei file \u00e8 scritta in linguaggi di programmazione insoliti come Mathematica Notebooks, Csound o C\/C++, \u00e8 necessario scaricare applicazioni speciali come Wolfram CDF Player. Tuttavia, se non si dispone di un sistema operativo aggiornato, ci si dovr\u00e0 limitare alle pagine stampate, fortunatamente tradizionali.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Neukomklien.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Martin Neukom Signals, Systems and Sound Synthesis, traduzione in inglese di Gerald Bennett, 619 p., Fr. 110.00, con CD, Peter Lang Verlag, Berna 2013, ISBN 978-3-0343-1428-2<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>La produzione di musica digitale \u00e8 un campo molto ramificato e complesso. Martin Neukom affronta il fenomeno da una prospettiva matematica.<\/strong><\/p>","protected":false},"author":1,"featured_media":6442,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1214,29],"tags":[],"class_list":["post-6441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Standardwerk f\u00fcr Spezialisten - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2013\/11\/6441\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Standardwerk f\u00fcr Spezialisten - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Die digitale Musikproduktion ist ein weitverzweigtes, komplexes Gebiet. 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