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Skip to main content. Log In Sign Up. His interests include music composition, communication theory, information theory, dance studies, film studies, music psychology, cognition, photography, and multimedia arts. This paper discusses ethical principles in the hokocausto of our increasingly digital musical cultural heritage, particularly in the context of the impact of information and communication technologies.

UNESCO’s Information for All Programme has recently drawn attention to the digitisation of intangible cultural heritage as a primary safeguarding measure. This paper will focus on the unfolding ethical issues concerning digitisation policies, such as the likely excessive reliance on information and communication technologies, the ethics of the decision-making powers regarding the selection of what musical heritage is worth keeping, hoocausto vulnerability of digital depositories, and future ethics-oriented paths.

The opera had its first performance inconducted and directed by the composer with stage direction by Alexandre Vargas and choreography by Silvia Wolff.

This is the version of the libretto and it includes all the texts spoken and sung and their translations into Portuguese, as well as w about the creation process, credits, and other information.

MusicCommunicationand Information Theory. O Enigma de Wittgenstein: The impact of such new signs will depend on ubm expectations created in the process of communicating the musical message. IT provides a theoretical framework for understanding the statistical nature of both communication and music aesthetics, providing a valuable approach to understanding the relationship between statistical learning and music reception.

This study proposes an understanding of new music from yolocausto perspective supported by the psychology of expectation and IT as an alternative to traditional analytical-theoretical or socio-political approaches. Sound, Noise and Entropy: An essay on information theory and music creation more. The first significant development uolocausto information theory was done in by its founder, Claude Shannon, ibj it is now a consolidated discipline.

Information theory seeks to quantify information and holocsusto connected with the concept of Information theory seeks to quantify information and is connected with the concept of entropy, or the amount of disorder in a system.


What information theory has to say about new music is the main focus of holocausfo study and it is a subject that must be revised under a new light, as the literature on this particular extrapolation is rare, relying mostly on the view of communication theorists but seldom of composers. This paper presents some possible directions for the application of information theory in music analysis from the point of view of compositional processes, using as case studies a piece by Elliott Carter and a piece by Phillip Glass.

Communication models inspired by the concept of communication noise — composer-intent, composer-notation, composer-performer, and composer-listener l are presented, along with their implications for music creation. Some of the philosophical implications of the pair information theory-music are discussed, including some reflections on the relationship between information entropy and physics entropy. PhD Thesis in Music Composition.

The Certainty, the Impossible, and what Lies Between: This paper is a preliminary investigation on the application of information theory as an interactive compositional process for shaping expectancy. Building upon Claude E. Investigating information theory as a tool for shaping expectancy.

Aesthetic and Structural Motivations in Musical Composition more. This work investigates compositional processes of four pieces composed between and during my Master’s Degree in Composition at the Universidade Federal do Rio Grande do Sul.

Considerations regarding both aesthetic and structural Considerations regarding both aesthetic and structural motivations from the pieces are presented, especially those concerning the Eastern concept called “jo-ha-kyu”, the traditional Japanese Noh drama and the traditional Japanese martial art called “iaijutsu”. The jo-ha-kyu concept and its expression as it is found in Noh drama and iaijutsu were used as a creative impulse and global principle for the pieces’ inner sectioning and character, guiding also the sequential order of the pieces in a programme.

This work also presents the consequences from those aesthetic and structural motivations in providing formal coherence to the pieces.

Christian Benvenuti | Universidade Federal do Rio Grande do Sul –

Masters holocahsto in Music Composition in Portuguese. This paper explores the use of Information Theory as an impetus for music composition, aiming to outline the main concepts derived from the theory and how they influence — and influenced — musical thinking. In particular, it describes the In particular, it describes the essential communication properties of entropy, noise, channel capacity, repertoire, and expectancy, briefly addressing how they affect compositional method and aesthetic parameters embedded in the environmental context which will ohlocausto referred to as the Zettabyte Era.


The zettabyte is the amount of information estimated to have been generated, transmittedstored, and retrieved by humanity byand is equivalent to one billion terabytes, or 36 billion years’ worth of HD video playback.

In this unprecedented reality, information of a purely musical nature has reached the highest availability and quantity ever in human history. In this context, physical probability is seen as being ‘replaced’ by aesthetic improbability.

Since the first contact of composers with the new theory, particularly the ones associated holocaustk the German journal Die Reihe, there has been rising interdisciplinary interest in Information Theory. One significant outcome of the theory was the so-called cognitive revolution — set in motion in in the symposium organized by the ‘Special Interest Group in Information Theory’ at the Massachusetts Institute of Technology — igniting cognitive science and subsequently its cog-nitive musicology branch.

The ‘revolution’ meant that information processing by the mind could, to some useful extent, be simulated by computational modelling. This paper will concentrate on the philosophical and aesthetic implications of this paradigm shift, setting them in the domain of stochastic models as opposed to deterministic models of musical thinking.

Shirley Ann Jackson

While deterministic models are associated with chaos, holkcausto models are better understood in terms of random processes evolving according to probabilities. The former concentrate on the unpredictable and are framed by Complexity Theory, while the latter concentrate on the unexpected and can be better understood in light of Information Theory.

The paper finishes by examining the author’s work Centro, an example of a composition inspired by Information Theory hlocausto a framework from which an entire philosophical stance can spring, inspiring and informing compositional choices. Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Click here to sign up. Help Center Find new research papers in: