米哈米尔·马尔特，接受过科学和音乐两方面的知识，是一名工程师、作曲家和指挥家。起初在巴西作为长笛演奏家和管弦乐指挥家开始音乐事业，指挥青年管弦乐队近10年之久。在社会科学高等学院获得博士学位，致力于采用数学模型从事计算机辅助作曲的研究；并获得了特许任教资格，论文题目为《计算机辅助作曲和计算机音乐理论表现》。2006-2012年间在巴黎索邦大学任助理教授，现在是音乐表现团队（声学与音乐研究中心，法国国家科学研究中心，巴黎第六大学）的研究员，巴黎索邦大学助理研究员，法国巴黎声学与音乐研究中心教育部门电脑音乐设计课教师。如今正在潜心从事音乐建模、超声处理以及音乐表现认识论方面的研究与作曲工作。
Mikhail Malt, having a twofold training, scientific and musical (Engineer, composer and musical conductor) started out his musical career in Brazil as both flutist and orchestral conductor, having conducting youth orchestras for almost ten years. He has a PHD grade with a thesis at the “Ecole des Hautes Etudes en Sciences Sociales” dedicated to the use of Mathematical models in Computer Assisted Composition, and a HDR (Habilitation à Diriger des recherches) degree with the dissertation : “Representation in Computer Aided Composition and Computational Musicology”. Was Associated Professor at Sorbonne Paris IV, from 2006 to 2012. Nowadays he is researcher in the Music Representations Team - UMR 9912 STMS (IRCAM, CNRS, UPMC), associated researcher at IReMus – Sorbonne Universités and Computer Music Designer Teacher in the Educational Department at Ircam, Paris-France. He is currently pursuing his research and composition activities in the fields of musical modeling, sonification and musical representation epistemology.
当今音频特性与音乐作曲
Audio Features and musical composition, nowadays
2017年1月26日，法国作曲家菲利普·曼诺瑞在法兰西学院的就任演讲中指出“对声音了解情况经常会对作曲理论产生决定性影响”，强调作曲技巧除了受其他因素影响之外，还与对声音现象的了解程度有关。从这点出发，我们可以尝试理解近年来这种对声音的认识，特别是由声音描述符、音频特征产生的认识是如何融入音乐作曲中的，又可能会对音乐写作以及对音乐音色概念产生什么影响。
In his Collège de France inaugural lesson (January 26, 2017), the French composer Philippe Manoury stated that “the knowledge of sound has often exerted a decisive influence on the theories of composition,” emphasizing that composition techniques depend, among other things, on the knowledge of the sound phenomenon. From this point, we will try to understand how this knowledge of sound, especially those brought by sound descriptors, or audio features, have been integrated recently in the musical composition and what possible consequences for the musical writing and for our conception of the musical timbre.
