Telemann’s Fantasia No 2 à Travers Sans Basse: Compositional Intentions, Performance Characteristics and Audio Footprint Signal Processing Analysis

In this chapter, a bilateral approach is applied to Telemann’s music, combining information both from the music analysis domain and transformation techniques of the sound signal. The Telemann’s Fantasia No 2 a Travers sans Basse is used as the paradigm basis and its characteristics that relate with the melodic and harmonic projection (music analysis axis) are seen through the perspectives of dynamics, pitch, timbre, similarity, novelty, chroma and predicted emotional impact, and the way they affect the micro-macrostructure of the piece, resulting in the final sound output (advanced signal processing axis). Two recordings from eminent flutists [Kuijken (flute traverso); Rampal (modern flute)] provided the audio data. The proposed approach could serve as an alternative handling of the sound ontologies, aiming at the optimum arrangement and realization of the structural intentions of a composer, as reflected in the interpretation of the performer and mediated to the audience.