Selected Academic and Press Citations
Books:
O Keeffe, L. & Nogueira, I. (2023). The body in sound, music and performance : studies in audio and sonic arts. Abngdon, Oxon ; New York, NY : Routledge, Taylor & Francis Group.
Work cited: Mondgewächse
Magnusson, T. (2019). Sonic writing: Technologies of material, symbolic and signal inscriptions. Bloomsbury Academic.
Work cited: Orpheus Machines, collaborative work with Freida Abta
Josel, S., & Tsao, M. (2014). The techniques of guitar playing. Bärenreiter Kassel.
Work cited: Funeral Sentences
Articles:
Barbara Eckle, Stil ist Gewalt. Vergangenheit und Zukunft in der Musik von Patricia Alessandrini. MusikTexte 154 – August 2017
Muriel Joubert, «Une premier regard sur le Quatuor à cordes avec électronique »,
colloque du Concours International de Musique de chambre sur le quatuor à cordes, 28 October 2009 (CIMCL, Lyon)
Work cited: De Profundis Clamavi
“L’hommage à des compositeurs disparus (ou non) ou à des œuvres pré-existentes est parfois choisi: De Profundis Clamavi de Patricia Alessandrini est un hommage à la Suite lyrique de Berg…
Plus encore, Patricia Alessandrini s’inspire dans De Profundis Clamavi d’une technique picturale bien particulière mise en œuvre par Gerhard Richter: la première couche de peinture d’un tableau (représentant un personnage, un paysage ou tout autre objet reconnaissable) est recouverte par une couche laissant filtrer par interstices des fragments de l’image initiale.
Effectivement, en dehors de toute présence de l’électronique, les quatuors à cordes utilisent ces «sons-bruits» si caractéristiques de cette période qui commence à partir des années 1970. Au delà des différentes variétés de pizzicato, les sons sul ponticello ou sul tasto mènent à différentes formes de bruissements (Alessandrini: De Profundis).
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Citations of Alessandrini, P. A Dress or a Straightjacket? Facing the Problems of Structure and Periodicity Posed by the Notation of Berio’s Sequenza VII for Oboe. In Halfyard, J. K. (2017). Berio's sequenzas: "essays on performance, Composition and Analysis ". Routledge.
Lalitte, P. (2022). Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening. Contemporary Music Review, 41(1), 86–107. https://doi.org/10.1080/07494467.2022.2033573
Barrier, O. P., & Panebianco, C. (2019). Towards a Precise Calculation of the Total Intended Duration of Luciano Berio’s Sequenza VII for Solo Oboe. Muziki, 16(1), 61–73. https://doi.org/10.1080/18125980.2019.1605842
Press/News (see also Reviews):
Ahmed, Issam (2023) Here Comes the AI: Fans rejoice in 'new' Beatles music. Agence France-Presse (AFP), June 05, 2023
Thorsberg, Christian (2022) The future of AI in music is now. Artificial Intelligence was in the music industry long before FN Meka. Grid News, August 30, 2022
PhD theses:
Fantechi, Daniela (2022) Composing with Piezo. Doctoral Thesis, Royal Conservatoire Antwerp (AP Hogeschool) - within the research group Creatie- ARIA (UAntwerp) and the docARTES programme of the Orpheus Institute
Carrasco, Mauricio (2018) Monodrama and music theatre as transformative artistic experiences: from a performative to an embodied acting musician/guitarist. PhD Thesis, University of Melbourne
Woods, Seth (2016) Almost Human: The Study of Physical Processes and the Performance of a
Prosthetic Digital Spine. Doctoral thesis, University of Huddersfield
Conference papers:
Carrasco, M. (2022) "Tracing Cartographies in Artistic Research". KUG Kunst Universität Graz
Goodheart, M. (2022) Refraction Interlude: an interactive reembodied sound environment for improvisor and metal percussion. IRCAM Forum 2022, New York University. (Work cited: Adagio sans quatuor)
Carrasco, M. (2016) Encuentro Internacional de Compositores, Universidad Católica de Chile
Course syllabi:
Freida Abtan, School of Music, Carnegie Mellon University, Music & Technology (work cited: Orpheus Machines)
Scott Mclaughlin, Department of Music, University of Leeds, Composition Seminar (work cited: De Profundis Clamavi)
Paul Koonce, Department of Music, University of Florida, Composition Seminar, (work cited: De Profundis Clamavi)