Antonio Lai

 
 
  1. New Sardinian Music Volume 1 (NSM-CD01)

  2. All Music Composed and Produced by Antonio Lai

  3. ℗ & © 2015 Antonio Lai – New Sardinian Music, All Rights Reserved

  4. 1. Alleluja (10:05) Saxophone Quartet** and Live Electronics

  5. 2. Alleluja Unplugged (9:15) Saxophone Quartet*

  6. 3. Anastasis (11:00) Electroacoustics

  7. 4. A passu (7:18) Saxophone Quartet*

  8. 5. Doighi peraulas (6:15) Voice and Electronics

  9. 6. Fugghiendi (7:17) Saxophone Quartet** and Live Electronics

  10. Stéphane Bécarie: Soprano** and Tenor* Saxophones

  11. Rémi Fox: Alto* and Baritone** Saxophones

  12. Vincent Dupuy: Alto Saxophone

  13. Michaël Hazan: Tenor Saxophone

  14. Roberta Collu: Voice

  15. Audio Processing Sources (Excerpts):

  16. Sardegna Castelsardo CD Nota Geos 2.07

  17. Sardinia Polyphony for Holy Week CD LDX 274 936

  18. Recorded by Joaquim Ferreira (Studio-son Arts P8)

  19. Mixed by Antonio Lai and Joaquim Ferreira

  20. Mastered by Benoît Courribet (Cylens Studio)

  21. Recherche et création pour une nouvelle musique sarde

  22. Series Semiotics and Philosophy of Music

  23. L’Harmattan 2013

  24. This book (Research and Composition Towards a New Sardinian Music) is based on specific scientific research and on original musical works. The aim is to explain a personal and innovative compositional approach between tradition and modernity: the “New Sardinian Music”. Antonio Lai offers a theoretical point of view and several detailed musical analyses of traditional and experimental music, focused on the convergence of classical music and traditional Sardinian music. This interdisciplinary approach draws on epistemology, history of music, musical analysis and ethnomusicology.

  25. Genèse et révolutions des langages musicaux

  26. Series Semiotics and Philosophy of Music

  27. L’Harmattan 2002

  28. This study (Genesis and Revolutions of Musical Languages) proposes a theoretical hypothesis and a method of musical analysis based on the model of scientific revolutions of Thomas S. Kuhn (The Structure of Scientific Revolutions, 1970). One of the purposes is to map out a musical theory which explains the genesis, the evolution and the crisis of musical languages, making reference to compositions from the birth of the tonal system to the present. Antonio Lai opens new analytical and aesthetic perspectives, such as new criteria for contextual evaluation of musical works, and allows to apply a critical analysis of music and other arts in the framework of knowledge theory.

  29. Les corpus de l’oralité

  30. Proceedings of international congress

  31. (Antonio Lai and Mondher Ayari editors)

  32. Series Culture and Cognition of Music

  33. Delatour France 2014

  34. “Fonti e precisazioni inedite sulla teoria generale del linguaggio musicale di Franco Oppo”, proceedings of Franco Oppo 80 1 (congress), to be published.

  35. “La nouvelle musique sarde entre tradition écrite et tradition orale”, proceedings of Les corpus de l’oralité (international congress), Series Culture and Cognition of Music, Delatour France, 2014: 165-176.

  36. “Ré-écriture et élaboration compositionnelle à partir de la polyvocalité de Castelsardo”, proceedings of Scritture e ri-mediazioni / Ecritures et re-productions (international congress), Series Quaderni del Laboratorio MIRAGE, n. 3, Libreria Musicale Italiana, 2014: 119-131.

  37. “La polyvocalité de tradition orale en Sardaigne et en Corse : structures archaïques et nouvelles perspectives compositionnelles”, in La Corse et la musique : entre tradition et modernité, Albiana, 2013: 67-77.

  38. “The Spectral Paradigm”, Before and After Music (Proceedings of the 10th International Congress of the International Project on Musical Signification) Series Acta Semiotica Fennica XXXVII, 2010: 146-155.

  39. “La imagen del sonido y la escritura espectral”, Escritura e imagen (University of Madrid), n. 4, 2008: 125-146.

  40. “Le ultime composizioni di Horatiu Radulescu”, I suoni, le onde… (Isabella Scelsi Foundation Review), n. 21, 2008: 10-11.

  41. “A gênese do paradigma espectral”, Discurso (Review of the Department of Philosophy University of São Paulo Brazil), n. 37, 2007: 407-440.

  42. “A Relativistic Approach to Genesis, Evolution and Crisis in Tonal Harmony”, Music and the Arts (Proceedings of the 7th International Congress on Musical Signification) Series Acta Semiotica Fennica XXIII, 2006: 140-156.

  43. “Le langage spectral de Horatiu Radulescu”, L’éducation musicale, November/December 2005, n. 527-528: 18-24.

  44. “Il linguaggio di Horatiu Radulescu e il movimento spettrale”, Musica/Realtà, July 2005, n. 77: 155-173.

  45. “L’instant innovateur et l’évolution historique des langages musicaux”, Musicæ Scientiæ (The Journal of the European Society for the Cognitive Sciences of Music), Aspects du temps dans la création musicale (special issue), 2004: 37-46.

  46. “Paradigms and Revolutions in Musical Languages: Towards a Relativistic Theory and an Analytical Method Based on Kuhn’s Structure of Scientific Revolutions”, Musical Semiotics Revisited (Proceedings of the 8th International Doctoral and Postdoctoral Seminar on Musical Semiotics) Series Acta Semiotica Fennica XV, 2003: 123-137.

  47. “Les processus mnémonico-discursifs de la musique au cours de l’évolution historique des langages”, Proceedings of the Congress Musique et Mémoire, Series Arts 8, L’Harmattan, Paris, 2003: 57-64.

  48. “Un modèle relativiste pour la théorie et l’analyse musicale”, Observation, analyse, modèle : peut-on parler d’art avec les outils de la science ? (Proceedings of the 2d International Congress on Musical Epistemology), L’Harmattan/IRCAM, Paris, 2002: 95-110.

  49. “Un modello relativista per la teoria e l’analisi musicale”, Musica/Realtà, March 2002, n. 67: 119-128.

  50. “La formule magique de Mantra (Karlheinz Stockhausen)”, L’éducation musicale, June/July 2002, n. 493-494: 9-14.

  51. “Complexité et contradiction de la texture polyphonique dans la musique sérielle”, Proceedings of the Congress Les polyphonies du texte : des mots des couleurs et des sons, Editions Al Dante, Paris, 2002: 209-217.

  52. “Anmerkungen zu Nomos Alpha für Violoncello solo von Iannis Xenakis”, MusikTexte. Zeitschrift für Neue Musik, February 2002, n. 92: 59-63.

  53. “Genèse, évolution et crise des langages musicaux” Proceedings of the Congress Approches herméneutiques de la musique, Presses Universitaires de Strasbourg, 2001: 139-186.

  54. “Analyse de la Symphonie op. 21 (n. 1) de Anton Webern”, L’éducation musicale, Juin/Juillet 2001, n. 482-483: 23-26 (first part), Septembre/Octobre 2001, n. 484-485: 16-17 (second part).

  55. Nomos Alpha de Iannis Xenakis : la matrice disciplinaire et une évaluation contextuelle de l'œuvre”, Proceedings of the Congress Présences de Iannis Xenakis, Editions CDMC, Paris, 2001: 125-139.

  56. “La couleur des timbres et sa fonction formatrice dans la musique du vingtième siècle” (Antonio Lai and Ivanka Stoianova), Proceedings of the Seminar La couleur réfléchie, Series Arts 8, L’Harmattan, Paris, 2001: 161-179.

  57. Dictionnaire de la Danse, Larousse Edition, Paris, December 1999. Composers: (1) Luciano Berio, (2) Karlheinz Stockhausen and (3) Iannis Xenakis. Music Theory (co-author): (1) Contretemps, (2) Mesure, (3) Pulsation, (4) Syncope, (5) Tempo and (6) Temps.

  58. “La fonction compositionnelle des modulateurs en anneau dans Mantra (Karlheinz Stockhausen)”, Proceedings of the 1999 edition of the Computer Music Days, CEMAMu, May 1999: 221-226.

  59. “Une notation pour la danse ? La théorie de Nelson Goodman sur la notation”, Notes funambules, Ecriture et danse, Review of the Department of Dance, University Paris 8, n. 5, March 1997: 47-52.