03898nam a22005055i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001500172072001500187072001600202072002300218072001500241100008700256245011600343250001800459264007900477300004400556336002600600337002600626338003600652347002400688505051100712520165201223650004102875650002502916650002802941650003602969650002903005650002803034650003103062650004003093710003403133773002603167776003603193776003603229776003603265856004603301912001403347912001403361999001703375978-3-031-75193-6DE-He21320251030114630.0cr nn 008mamaa241220s2024    sz |    s    |||| 0|eng d  a97830317519369978-3-031-75193-67 a10.1007/978-3-031-75193-62doi 4aML159-3785 7aAV2bicssc 7aHBT2bicssc 7aMUS0200002bisacsh 7aAVM2thema1 aCasanelles, Sergi.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut98925614aThe Hyperorchestrah[electronic resource] :bScreen Music and Virtual Musical Ensembles /cby Sergi Casanelles.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXVI, 328 p. 31 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 a1. Introduction -- PART I: Theoretical and Practical Foundations -- 2. From Hyperreality to Digital Cinema: A Theoretical Overview -- 3. Conceptualizing the Hyperorchestra -- 4. The Digital Tools for the Hyperorchestra: MIDI, Virtual Instruments, and Digital Music -- PART II: The Hyperorchestra and the contemporary aesthetics for screen music -- 5. Hyperorchestral Aesthetic Frameworks for the Screen Music Composer -- 6. Hyperorchestration: Sonic Strategies for the Creation of Meaning -- 7. Conclusion.  aThe term hyperorchestra derives from hyperreality, a postmodern philosophical concept coined by Jean Baudrillard; the hyperorchestra is a virtual ensemble that inhabits hyperreality, capable of producing music that has the capacity to sound realistic and connected to our world, but that could never be produced by physical means only. This book studies the hyperorchestra as used in music for the screen and draws from the intersection of practice and theory. From the theory’s side, the book adopts concepts from postmodern philosophy such as hyperreality and Marshall McLuhan’s theory of media .They serve to provide a philosophical ground from which to define the hyperorchestra. From the practice’s side, the book describes contemporary processes, current software tools, orchestration and instrumentation principles, and contemporary approaches to music composition (such as spectral music). In doing so, the book proposes a new perspective for analyzing contemporary film music that pinpoints the importance of the relationship between timbre, meaning, and the different narrative levels within an audiovisual piece. Sergi Casanelles teaches composition at New York University. He has published several articles and chapters on screen music, and he has an active composition practice. He has written concert music for piano, chamber ensembles, orchestra, electronics, as well as music for the screen. He won the COM Radio Tutto Award for his solo piano piece Postlude to Chopin’s F minor Fantasy, and the III Orchestral Composition Competition Evaristo Fernández Blanco for his work From Hell: 4 scenes of Dante’s Divine Comedy. 0aMusicxHistory and criticism.967736 0aMusic theory.974241 0aMotion pictures.958496 0aTelevision broadcasting.96752414aHistory of Music.96864924aTheory of Music.97424224aContemporary Music.96773824aFilm and Television Studies.9675252 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303175192908iPrinted edition:z978303175194308iPrinted edition:z978303175195040uhttps://doi.org/10.1007/978-3-031-75193-6  aZDB-2-LCM  aZDB-2-SXL  c65888d65888