LEADER 04006nam 22006375 450 001 9910918594603321 005 20250627110426.0 010 $a9783031751936 010 $a3031751930 024 7 $a10.1007/978-3-031-75193-6 035 $a(MiAaPQ)EBC31855101 035 $a(Au-PeEL)EBL31855101 035 $a(CKB)37058963500041 035 $a(DE-He213)978-3-031-75193-6 035 $a(OCoLC)1481900703 035 $a(EXLCZ)9937058963500041 100 $a20241220d2024 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Hyperorchestra $eScreen Music and Virtual Musical Ensembles /$fby Sergi Casanelles 205 $a1st ed. 2024. 210 1$aCham :$cSpringer Nature Switzerland :$cImprint: Palgrave Macmillan,$d2024. 215 $a1 online resource (336 pages) 225 0 $aLiterature, Cultural and Media Studies 311 08$a9783031751929 311 08$a3031751922 327 $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. 330 $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. 606 $aMusic$xHistory and criticism 606 $aMusic theory 606 $aMotion pictures 606 $aTelevision broadcasting 606 $aHistory of Music 606 $aTheory of Music 606 $aContemporary Music 606 $aFilm and Television Studies 615 0$aMusic$xHistory and criticism. 615 0$aMusic theory. 615 0$aMotion pictures. 615 0$aTelevision broadcasting. 615 14$aHistory of Music. 615 24$aTheory of Music. 615 24$aContemporary Music. 615 24$aFilm and Television Studies. 676 $a781.54201 700 $aCasanelles$b Sergi$01780937 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910918594603321 996 $aThe Hyperorchestra$94305524 997 $aUNINA