Telemann’s Fantasia No 2 à Travers Sans Basse:: Compositional Intentions, Performance Characteristics and Audio Footprint Signal Processing Analysis

• Sofia B. Dias ^[1] ; Leontios J. Hadjileontiadis ^[2]
  1. [1] Universidade de Lisboa

     Universidade de Lisboa

     Socorro, Portugal

     
  2. [2] Aristotle University of Thessaloniki

     Aristotle University of Thessaloniki

     Dimos Thessaloniki, Grecia

     
• Localización: Perspectives on Music, Sound and Musicology: research, education and practice / Luísa Correia Castilho (ed. lit.), Rui Dias (ed. lit.), José Francisco Pinho (ed. lit.), 2021, ISBN 9783030784508, págs. 31-47
• Idioma: inglés
• Texto completo no disponible (Saber más ...)
• Resumen

  • In this chapter, a bilateral approach is applied to Telemann’s music, combining information both from the music analysis domain and transformation techniques of the sound signal. The Telemann’s Fantasia No 2 à Travers sans Basse is used as the paradigm basis and its characteristics that relate with the melodic and harmonic projection (music analysis axis) are seen through the perspectives of dynamics, pitch, timbre, similarity, novelty, chroma and predicted emotional impact, and the way they affect the micro-macrostructure of the piece, resulting in the final sound output (advanced signal processing axis). Two recordings from eminent flutists [Kuijken (flute traverso); Rampal (modern flute)] provided the audio data. The proposed approach could serve as an alternative handling of the sound ontologies, aiming at the optimum arrangement and realization of the structural intentions of a composer, as reflected in the interpretation of the performer and mediated to the audience.