Publications by Year: 2005

2005
Vagopoulou E. The Universality of Xenakis’ Oresteia. In: Xenakis proceedings conferences. ; 2005.
Murray C, Georgaki A, Salomos M. Two Ecstasies: Before and Beyond Formalisation. In: International Symposium Iannis Xenakis. National and Kapodistrian University; 2005. pp. 55–59.
Georgaki A. THE GRAIN OF XENAKIS’TECHNOLOGICAL THOUGHT IN THE COMPUTER MUSIC RESEARCH OF OUR DAYS. In: Definitive Proceedings of the “International Symposium Iannis Xenakis”. . ; 2005.Abstract
The scope of this article is to present the diachronic value of Xenakis’ technological thought in computer musicresearch and creation of our days within a comparative and critical approach. On the one hand, we will refer to the maindomains of Xenakis’ contributions to Music Technology: the conquest of the computer as a tool for logicaltransformations of symbols into music and a laboratory of automation for certain compositional tasks on meta-musicaland compositional design issues; his pedagogical and compositional approach by the sound-design system UPIC as aninterface between musician and machine; his granular approaches of sound synthesis as a link between algorithms andthe creation of new sounds; the multi-sensoring approach of the conception of Polytopes where he combines varioustechnological tools in order to achieve a kind of a total art work.On the other hand, we will exalt the impact of his research in current music technology (use of the granular model inmodern synthesizers, the marriage between sound and light in modern interactive performances, the design of new userfriendlytools for the music education, etc).At the same time, we will discuss in which way many of the headmasters of computer music research have beenprofoundly affected by Xenakis’ technological and epistemological approach.
21_2005_the_grain_of_xenakis_technological_thought_in_the_georgaki.pdf
Georgaki A. Reinventing Greek electroacoustic music: from tradition to multidisciplinarity. Electroacoustic Music Studies Network (EMS 05). 2005.Abstract
Greek electroacoustic music, born in the New Music environment of the sixties and developed among fruitful and critical periods, seems to be in expansion in our days. In this article we present a brief overview of the genesis and evolution of the electroacoustic music in Greece since 1967 until today, exposing three crucial periods. In the second section we present the works, the means and aesthetics of representative composers of the most recent period (1990-2005). In the last section we focus on the pedagogical and institutional development of the Greek electroacoustic music during the last fifteen years, as well as on the diversity of styles and techniques of works presented in various events in Athens and other places in Greece. We also stress the lack of an official institute for the archiving, creation and expansion of the electroacoustic music, and the indifference of the cultural authorities to cultivate such kind of music.
24_2005_greek_electroacoustic_music_georgaki_ems_site.pdf
Georgaki A, Zannos I, Valsmakis N. PHONODEON: CONTROLLING SYNTHETIC VOICES VIA MIDI-ACCORDEON. 2005.Abstract
This paper presents research on controlling synthetic voice via a MIDI accordion. As motivation for this research served the goal of reviving "lost instruments", that is of using existing traditional instruments “lost” to new music genres as interfaces to control new types of sound generation in novel and future genres of music.We worked with a MIDI-accordion, because it provides expressive control similar to the human breath through the mechanism of the bellows. The control interface of the two hands is also suited for characteristics of the singing voice: The right hand controls the pitch of the voice as traditionally used, while the left hand chooses combinations of timbres,phonemes, longer phonetic units, and different kinds of vocal expression. We use a simple model of phonemes, diphones and timbre presets. We applied this to a combination of sample based synthesis and formantbased synthesis. Our intention is to extend the work to physical models. A further goal of this research is to bridge the gap between ongoing research in the domain of synthesis of the singing voice with that of experimentation in novel forms of artistic performance, by examining different ways of interpreting synthesized voices via the MIDI accordion.
22.phonodeon.smc05.pdf