Log in

Relevant bibliographies by topics / Electroacoustic music / Journal articles

Journal articles on the topic 'Electroacoustic music'

To see the other types of publications on this topic, follow the link: Electroacoustic music.

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Electroacoustic music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

YONG, KERRY. "Electroacoustic adaptation as a mode of survival: arranging Giacinto Scelsi's Aitsi pour piano amplifée (1974) for piano and computer." Organised Sound 11, no. 3 (November 17, 2006): 243–54. http://dx.doi.org/10.1017/s1355771806001567.

Full text

Abstract:

Arrangement has always played an essential part of transmitting, preserving and disseminating works in the musical practice of both ‘high art’ and popular music. However, at present it is rarely practised in electroacoustic music, which can partly be explained by the nature of electronic technology and current thinking about authenticity. Despite this context, there are benefits to performance opportunities through the diversity created by arrangement; therefore, the process of adapting the electroacoustics of Scelsi's Aitsi is explored. The work offers this opportunity, since it lacks precision in its musical documentation, has received a number of quite different renditions and shows ontological malleability as it exists in another form, Scelsi's Fifth String Quartet. The new electroacoustic adaptation exploits Max/MSP software to extend the electroacoustic treatment of the piano beyond previous interpretations, whilst attempting to remain consistent with the aesthetic of the work. The article aims to encourage the composition and adaptations of works that afford performers interpretative licence with the electroacoustics in order to promote the distinctive and evanescent nature of mixed acoustic-electroacoustic works in concert performance, and encourage its continuation through an evolving performing tradition.

APA, Harvard, Vancouver, ISO, and other styles

2

Bohn, James, and Roger Reynolds. "ElectroAcoustic Music." Computer Music Journal 20, no. 3 (1996): 86. http://dx.doi.org/10.2307/3680832.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Mikawa, Makoto. "FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL'S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE." Tempo 68, no. 270 (September 4, 2014): 57–67. http://dx.doi.org/10.1017/s0040298214000369.

Full text

Abstract:

AbstractIndifferent to the aesthetic dispute between the Parisian musique concrète and the Cologne elektronische Musik schools in the mid twentieth century, Mauricio Kagel took a synthetic approach to his second electroacoustic composition Antithese by combining these compositional principles. His aim was not to offer an eclectic solution to the controversy, but to express his musico-political and musico-social commentary. A close observation of Kagel's sketches, archived at the Paul Sacher Foundation, suggests that his choice of compositional materials and painstaking structural plan were shaped by his critical view of the politics of electroacoustic music.

APA, Harvard, Vancouver, ISO, and other styles

4

Gatt, Michael. "The OREMA Project: A call for the liberation of sound analysis." Organised Sound 20, no. 3 (November 16, 2015): 316–22. http://dx.doi.org/10.1017/s1355771815000242.

Full text

Abstract:

Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.

APA, Harvard, Vancouver, ISO, and other styles

5

Hugill, Andrew. "On Style in Electroacoustic Music." Organised Sound 21, no. 1 (March 3, 2016): 4–14. http://dx.doi.org/10.1017/s1355771815000333.

Full text

Abstract:

This article argues for the habilitation of a concept of style in electroacoustic music. It surveys the reasons for the neglect of style, looking in particular at the modernist embedding of electroacoustic theory and the consequences of postmodern genre formations. It considers the extent to which academic understanding of the materiality of music has moved from the analysis of sound to the analysis of media. It offers a critique of notions of sonic inclusivity and the differentiation of electroacoustic music from instrumental music. It emphasises the importance of comparative analysis and understanding the elements of style in electroacoustic music. It critically examines a number of techniques and frameworks for stylistic analysis. It concludes by encouraging the electroacoustic music community to engage more fully with notions of style.

APA, Harvard, Vancouver, ISO, and other styles

6

BOSSIS, BRUNO. "The Analysis of Electroacoustic Music: from sources to invariants." Organised Sound 11, no. 2 (August 2006): 101–12. http://dx.doi.org/10.1017/s135577180600135x.

Full text

Abstract:

The musicologist is confronted with many situations during the analysis of electroacoustic music, whether on support media, mixed, or real-time. Musical genres and styles vary greatly, and the collection of electronic musical instruments has also proven to be very heterogeneous. The intrinsic characteristics of the electroacoustic parts and their scoring create serious limitations. Furthermore, many sources remain inaccessible or are already lost. Thus the preoccupation with documentary sources related to the acts of creation, interpretation, and technological context becomes more and more pressing. It is now essential to formulate a synthetic vision of this music, which has existed for half a century, and to pursue the search for invariants. This work must be based on a rigorous methodology that has yet to be developed. More generally speaking, the goal is to establish the terms and conditions of a systematic musicology of electroacoustics.

APA, Harvard, Vancouver, ISO, and other styles

7

Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.

Full text

Abstract:

In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.

APA, Harvard, Vancouver, ISO, and other styles

8

Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (November 3, 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

Full text

Abstract:

AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.

APA, Harvard, Vancouver, ISO, and other styles

9

Martin, Jeffrey. "Tradition and Transformation: Addressing the gap between electroacoustic music and the middle and secondary school curriculum." Organised Sound 18, no. 2 (July 11, 2013): 101–7. http://dx.doi.org/10.1017/s1355771813000022.

Full text

Abstract:

Given the growing acceptance of information and communication technology (ICT) as integral to today's middle and secondary school classrooms, electroacoustic music would seem on the surface to be a central feature of the music curriculum. However, models that approximate actual practices of electroacoustic music in the classroom are rare, with many schools focusing squarely on ICT, either as tools to facilitate traditional musical contexts or to explore innovative uses of that technology. Also, with the exception of some notable recent developments, there are few initiatives to bring middle and secondary students, or their teachers, into contact with the practices of electroacoustic music communities. The purpose of this article is to explore this problematic gap between the education and electroacoustic music communities in an attempt to identify some of the issues that lie at the foundation of an effective curriculum. The position taken is that these foundational matters need to be addressed prior to any discussion of ‘best practices’ for middle and secondary electroacoustic music education.

APA, Harvard, Vancouver, ISO, and other styles

10

Kaiser, Karl, and Academie Bourges. "Aesthetics and Electroacoustic Music." Computer Music Journal 21, no. 3 (1997): 98. http://dx.doi.org/10.2307/3681019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

McAlpine, Kenny. "Brazilian Electroacoustic Music Concert." Computer Music Journal 21, no. 2 (1997): 92. http://dx.doi.org/10.2307/3681111.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Canazza, S., and A. Vidolin. "Introduction: Preserving Electroacoustic Music." Journal of New Music Research 30, no. 4 (December 1, 2001): 289–93. http://dx.doi.org/10.1076/jnmr.30.4.289.7494.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

COUPRIE, PIERRE. "(Re) Presenting electroacoustic music." Organised Sound 11, no. 2 (August 2006): 119–23. http://dx.doi.org/10.1017/s1355771806001373.

Full text

Abstract:

Art always does more than subsist upon technical progress; for centuries its practice has merged with it, and we should never forget that the first meaning of the word art was technê. However, never before has the relationship between art and technology raised so many questions and provoked so much misunderstanding. As a matter of fact, at the same time as the frontiers of technique continue to recede, the frontiers of art seem more and more difficult to grasp. (Couchot and Hillaire 2003: 15)

APA, Harvard, Vancouver, ISO, and other styles

14

Hirst, David. "An echo from closed doors." Organised Sound 6, no. 1 (April 2001): 39–45. http://dx.doi.org/10.1017/s1355771801001066.

Full text

Abstract:

On 31 December 1999 the La Trobe University Music Department closed its doors. From the outset, La Trobe Music saw itself as providing an alternative tertiary music education to the predominant paradigms of the time by fostering creativity through composition, technology, improvisation and other types of alternative performance practices. The philosophy of teaching electroacoustic music at La Trobe was to encourage students to find their own compositional voice rather than preach a particular style of electroacoustic music. The Department's research areas were in improvisation and technology, signal processing, gestural control devices, computer-assisted composition, analysis of electroacoustic music, realtime DSP, live electronics and installations. La Trobe's excellence in electroacoustic music was recognised by its inclusion in a survey of the world's top twenty-three computer music institutions by the Japanese journal Intercommunication 6. La Trobe staff and postgraduate students contributed papers and compositions to international and national computer music conferences and La Trobe was very much a part of the international community for over twenty-five years. The challenge now is for other Victorian institutions to meet the needs of today's students and to provide the deep research foundation in electroacoustic music that informs teaching and generates new music directions in the community.

APA, Harvard, Vancouver, ISO, and other styles

15

Norris, Michael, and John Young. "Half-heard sounds in the summer air: electroacoustic music in Wellington and the South Island of New Zealand." Organised Sound 6, no. 1 (April 2001): 21–28. http://dx.doi.org/10.1017/s1355771801001042.

Full text

Abstract:

This article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn's pioneering work in the early 1960s. The Victoria University of Wellington Electronic Music Studios (VUW/EMS) that Lilburn established in 1966 became a focal point for electronic music activities in the late 1960s and early 1970s. This article examines current approaches to electroacoustic music composition, and discusses the facilities at Victoria University, the University of Canterbury and the University of Otago.

APA, Harvard, Vancouver, ISO, and other styles

16

Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.

Full text

Abstract:

This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.

APA, Harvard, Vancouver, ISO, and other styles

17

Eigenfeldt, Arne. "Generative Music for Live Performance: Experiences with real-time notation." Organised Sound 19, no. 3 (November 13, 2014): 276–85. http://dx.doi.org/10.1017/s1355771814000260.

Full text

Abstract:

Notation is the traditional method for composers to specify detailed relationships between musical events. However, the conventions under which the tradition evolved – controlled relationships between two or more human performers – were intended for situations apart from those found in electroacoustic music. Many composers of electroacoustic music have adopted the tradition for mixed media works that use live performers, and new customs have appeared that address issues in coordinating performers with electroacoustic elements. The author presents generative music as one method of avoiding the fixedness of tape music: coupled with real-time notation for live performers, generative music is described as a continuation of research into expressive performance within electroacoustic music by incorporating instrumentalists rather than synthetic output. Real-time score generation is described as a final goal of a generative system, and two recent works are presented as examples of the difficulties of real-time notation.

APA, Harvard, Vancouver, ISO, and other styles

18

Chadabe, Joel. "The Role of Apps in Electroacoustic Music: A new dimension for music through tablets and other devices." Organised Sound 20, no. 1 (March 5, 2015): 99–104. http://dx.doi.org/10.1017/s135577181400048x.

Full text

Abstract:

This article describes the potential of apps as a platform for composers of electroacoustic music to present their work. It traces a history of changing concepts of structure in music from objects and symmetrical forms to dynamic systems that provide a basis for interactive instruments. Early examples of interactive instruments are presented and discussed. The opening up of music to all sounds is discussed in the context of the origins and growth of global communities within the music world. The structure of an app format for electroacoustic compositions is described and examples of various music apps are discussed from the perspective of the electroacoustic app format.

APA, Harvard, Vancouver, ISO, and other styles

19

BOURA, VASSILEIA. "The Effect of Electroacoustic Music in Enhancing Interpersonal Relationships in School Community An Empirical Research for Secondary Education." Volume 5 - 2020, Issue 9 - September 5, no. 9 (October 3, 2020): 891–900. http://dx.doi.org/10.38124/ijisrt20sep511.

Full text

Abstract:

Electroacoustic music, as the contemporary art of sounds originating from the human environment, is selected to play a unifying role of interdisciplinary study areas in school, but also be the vehicle for the school community to form links with the wider society for enhancing students' learning, emotional skills and carrier orientation. Electroacoustic music learning methods are empiricaly proved to play an important role in students' education and in future citizens' attitude and ethics. This paper is based on empirical practices and statistically analysed results. Previous studies, worldwide, have shown a positive relationship between music and academic achievement. This study explores the possible reasons why electroacoustic music positively affects interpersonal relationships in school environment. Educators and curriculum developers may want to include electroacoustic music in their instructional units, on an international level. Bioscientists and psychologists may extend this empirical research to scientific. Since 2012 different empirical educational programmes in Greek European and public schools under the auspices of the Hellenic Ministry of Education and Religious Affairs, have aimed to enhance learning and intra-school interpersonal relationships in Secondary Education. The programmes reffered to in this paper discribe the results of electroacoustic music effect on interpersonal relationships in the school environment.

APA, Harvard, Vancouver, ISO, and other styles

20

Hoffman, Elizabeth. "On Performing Electroacoustic Musics: a non-idiomatic case study for Adorno's theory of musical reproduction." Organised Sound 18, no. 1 (March 26, 2013): 60–70. http://dx.doi.org/10.1017/s1355771812000246.

Full text

Abstract:

Adorno's theory of musical reproduction is unfinished, inconsistent and attuned only to score-based acoustic music – but it has relevance for electroacoustic performance as well. His theory prompts contemplation about what ‘good’ interpretation, and interpretation itself, means for fixed electroacoustic music. A digital sound file is frequently, if not typically, viewed as more rigid and precise than a score. This article uses Adorno's theory to compare ontologies of score and digital file realizations respectively, thus questioning the above assumption. Do electroacoustic works truly exist apart from their performed features, or is a given work only its performances? Different answers imply different work concepts and interpretive strategies. Toward the essay's goals, we examine three features often viewed as nonontological to an electroacoustic work, namely performed spatialisation, equalisation, and amplitude balance. We consider the impacts of these features when they are manipulated in real time, or performance to performance. As Adorno asks how choices of timing or dynamics dictate a notated work's aesthetic ‘clarity’, this paper asks how performed choices contribute to an electroacoustic work's clarity, and to the unique interpretive potential of electroacoustic music. Tape music and acousmatic music, with its diffusion tradition, are central to this paper's thesis; but multi-channel works are circumscribed by it as well.

APA, Harvard, Vancouver, ISO, and other styles

21

Noble, Jason, Tanor Bonin, and Stephen McAdams. "Experiences of Time and Timelessness in Electroacoustic Music." Organised Sound 25, no. 2 (August 2020): 232–47. http://dx.doi.org/10.1017/s135577182000014x.

Full text

Abstract:

Electroacoustic music and its historical antecedents open up new ways of thinking about musical time. Whereas music performed by humans is necessarily constrained by certain temporal limits that define human information processing and embodiment, machines are capable of producing sound with scales and structures of time that reach potentially very far outside of these human limitations. But even musics produced with superhuman means are still subject to human constraints in music perception and cognition. Focusing on five principles of auditory perception – segmentation, grouping, pulse, metre and repetition – we hypothesise that musics that exceed or subvert the thresholds that define ‘human time’ are likely to be recognised by listeners as expressing timelessness. To support this hypothesis, we report an experiment in which a listening panel reviewed excerpts of electroacoustic music selected for their temporally subversive or excessive properties, and rated them (1) for the pace of time they express (normative, speeding up, or slowing down), and (2) for whether or not the music expresses ‘timelessness’. We find that while the specific musical parameters associated with temporal phenomenology vary from one musical context to the next, a general trend obtains across musical contexts through the excess or subversion of a particular perceptual constraint by a given musical parameter on the one hand, and the subjective experiences of time and timelessness on the other.

APA, Harvard, Vancouver, ISO, and other styles

22

Dahan, Kevin. "A Temporal Framework for Electroacoustic Music Exploration." Organised Sound 25, no. 2 (August 2020): 248–58. http://dx.doi.org/10.1017/s1355771820000151.

Full text

Abstract:

Many aural analytical methods have been produced for electroacoustic music that focus on the identification of salient morphological features of the sounds. Doing so, they usually overlook the importance of time – a central aspect of music – sometimes by considering it as a simple compositional parameter. However, this article proposes a novel theoretical framework for electroacoustic music understanding by putting time and its cognitive representations during perception at the forefront. Two concepts are introduced to propose this alternative approach to electroacoustic music description: temporal directionality, which focuses on the sounds themselves, and temporal distancing, which focuses on the relations between sounds. Throughout this article, several musical examples are given to briefly exemplify how such concepts can be used in an explanatory context. Finally, polychrony is introduced, which aims to describe how electroacoustic composers play with the various cases of temporal directionality and distancing, and, in the process, actually weave time itself.

APA, Harvard, Vancouver, ISO, and other styles

23

Abdul Wahid, Hasnizam. "Electroacoustic music studies: some thoughts and possibilities." Organised Sound 12, no. 2 (July 4, 2007): 167–69. http://dx.doi.org/10.1017/s1355771807001744.

Full text

Abstract:

AbstractElectroacoustic music is relatively new and something of an experiment in Malaysia. Involvement in various technology- and art-related performing and composing activities has nurtured my interest, particularly with reference to electroacoustic music.Unlike visual art, it is not known exactly where and when our historical perspectives in sound art originate, and I would suggest that no electroacoustic music or pieces are known to have been performed or presented in Malaysia since the art form was first pioneered in the West more than fifty years ago.This paper introduces some thoughts and possibilities relating to electroacoustic music from the Malaysian perspective.

APA, Harvard, Vancouver, ISO, and other styles

24

Long, Jason, Jim Murphy, Dale Carnegie, and Ajay Kapur. "Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music." Organised Sound 22, no. 2 (July 12, 2017): 195–205. http://dx.doi.org/10.1017/s1355771817000103.

Full text

Abstract:

The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and related artists. As the march of technology progressed in the latter half of the twentieth century, alternative technologies opened up new areas within the electroacoustic discipline such as computer music, hyper-instrument performance and live electronic performance. In addition, the areas of electromagnetic actuation and musical robotics also allowed electroacoustic artists to actualise their works with real-world acoustic sound-objects instead of or along side loudspeakers. While these works owe much to the oft-cited pioneers mentioned above, there exists another equally significant alternative history of artists who utilised electric, electronic, pneumatic, hydraulic and other sources of power to create what is essentially electroacoustic music without loudspeakers. This article uncovers this ‘missing history’ and traces it to its earliest roots over a thousand years ago to shed light on often-neglected technological and artistic developments that have shaped and continue to shape electronic music today.

APA, Harvard, Vancouver, ISO, and other styles

25

Velloso, Rodrigo Cicchelli, Frederico Barros, Orlando Scarpa Neto, Cláudio Bezz, and Jorge Ardila. "Theoretical Frameworks in Brazilian Electroacoustic Music." Organised Sound 21, no. 2 (June 30, 2016): 97–105. http://dx.doi.org/10.1017/s1355771816000029.

Full text

Abstract:

This article is the final stage of seven years of research dedicated to understanding the theoretical backgrounds of Brazilian electroacoustic music in which a significant amount of data was gathered from a series of questionnaires and interviews with Brazilian composers. Our research focuses mainly on the influence of what we have called the historical matrices: musique concrète, elektronische musik and computer music. We were able to determine to some extent how much each of these matrices weigh on the poetic and poiesis of the Brazilian electroacoustic production. We were also able to shed some light on how (and if) Brazilian composers relate to these matrices aesthetically and if their relation to them is merely technical, as well as trying to understand how clear cut the borders are between these two aspects of musical creation. The concepts of oppositional culture (Ogbu 1978) and established and outsiders (Elias and Scotson 2000) also helped us understand the dynamics between academia and a certain anti-academic stance seen in some composers of the genre. Using these same concepts, we elaborate, in a final note, on some brief comments about a newer generation of composers who, due to various aspects, were filtered out during the early methodological stages.

APA, Harvard, Vancouver, ISO, and other styles

26

Palmer, John. "SPACES AND PLACES: AN INTERVIEW WITH SIMON EMMERSON." Tempo 63, no. 247 (January 2009): 19–23. http://dx.doi.org/10.1017/s0040298209000023.

Full text

Abstract:

Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following 28 years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; he has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). In addition to extensive writings on the subject, he was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a Trustee of its successor organisation ‘Sound and Music’. This interview took place in July 2008.

APA, Harvard, Vancouver, ISO, and other styles

27

Truax, Barry. "Soundscape Composition as Global Music: Electroacoustic music as soundscape." Organised Sound 13, no. 2 (June 25, 2008): 103–9. http://dx.doi.org/10.1017/s1355771808000149.

Full text

Abstract:

AbstractThe author covers the background of soundscape composition, as initiated by the World Soundscape Project at Simon Fraser University, and soundscape documentation as an activity that is being increasingly practised worldwide. Today there are two striking manifestations of this work: the increasing globalisation of the electroacoustic community, and the increasing sophistication of digital techniques applied to soundscape composition. In addition, the tradition of listening to environmental soundscapes as if they were music is inverted to suggest listening to electroacoustic music as if it were soundscape. What analytical tools and insights would result? The theoretical concepts introduced in soundscape studies and acoustic communication are summarised and applied first to media and digital gaming environments, noting the extensions of both their sound worlds and the related listening attitudes they provoke in terms of analytical and distracted listening. Traditional approaches to acousmatic and soundscape analysis are compared for their commonalities and differences, the latter being mainly their relative balance of attention towards inner and outer complexity. The types of electroacoustic music most amenable to a soundscape based analysis are suggested, along with brief examples of pieces to which such analysis might be directed.

APA, Harvard, Vancouver, ISO, and other styles

28

Truax, Barry. "Homoeroticism and electroacoustic music: absence and personal voice." Organised Sound 8, no. 1 (April 2003): 117–24. http://dx.doi.org/10.1017/s1355771803001134.

Full text

Abstract:

The absence of gay themes and homoeroticism in electroacoustic music is discussed within the context of issues of gender and music that have been raised in the last decade. The author's emerging body of work that deals with these issues suggests possible uses of voice, text, video and music theatre within an electroacoustic language to portray sexuality and desire.

APA, Harvard, Vancouver, ISO, and other styles

29

Rogalsky, Matt. "Finger Exercises for Oscillators: István Anhalt on Electronic Music1." Circuit 19, no. 3 (October 8, 2009): 77–84. http://dx.doi.org/10.7202/038260ar.

Full text

Abstract:

Abstract In conversation with Matt Rogalsky, composer István Anhalt discusses his association with Hugh Le Caine and the National Research Council laboratories in the 1950s, the founding of the electronic music studio at McGill, and his early experiences learning tape music and analog and digital synthesis techniques. The composer describes his early electronic works, the use of electroacoustic elements in his later music, and the importance of electroacoustic music in music education.

APA, Harvard, Vancouver, ISO, and other styles

30

Andean, James. "Ecological Psychology and the Electroacoustic Concert Context." Organised Sound 16, no. 2 (June 28, 2011): 125–33. http://dx.doi.org/10.1017/s1355771811000070.

Full text

Abstract:

An application of ecological psychology, based on the work of James J. Gibson, to electroacoustic music would consider the listener in relationship with both the work and the environment, in a dynamic and mutually informing relationship. This perspective is applied to various electroacoustic concert paradigms, demonstrating a wide range of listening experiences; the implications for electroacoustic music as a genre are examined. Several qualities of acousmatic music are used to explore some potential limitations of Gibson's theories. Finally, some relative strengths and weaknesses of ecological psychology are considered, as well as some potentially fruitful cooperations with other, somewhat divergent, theoretical approaches.

APA, Harvard, Vancouver, ISO, and other styles

31

Hammer, Ernest Lee, and Simon Emmerson. "The Language of Electroacoustic Music." Computer Music Journal 11, no. 4 (1987): 49. http://dx.doi.org/10.2307/3680241.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Fumarola, Martin Alejandro. "Sixth Florida Electroacoustic Music Festival." Computer Music Journal 22, no. 2 (1998): 65. http://dx.doi.org/10.2307/3680966.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Boutard, Guillaume, and Catherine Guastavino. "Archiving electroacoustic and mixed music." Journal of Documentation 68, no. 6 (October 12, 2012): 749–71. http://dx.doi.org/10.1108/00220411211277028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Landy, Leigh. "Electroacoustic Music: Analytical Perspectives (review)." Notes 60, no. 1 (2003): 162–63. http://dx.doi.org/10.1353/not.2003.0112.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Battier, Marc. "The Electroacoustic Music Studies Network." Leonardo 40, no. 5 (October 2007): 418. http://dx.doi.org/10.1162/leon.2007.40.5.418.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Helmuth, Mara. "Multidimensional representation of electroacoustic music*." Journal of New Music Research 25, no. 1 (March 1996): 77–103. http://dx.doi.org/10.1080/09298219608570698.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Mountain, Rosemary, and Kevin Dahan. "Editorial: Time in Electroacoustic Music." Organised Sound 25, no. 2 (August 2020): 127–29. http://dx.doi.org/10.1017/s1355771820000035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Moore, Adrian, and Adam Stansbie. "Compositional methods in electroacoustic music." Journal of Music, Technology and Education 6, no. 3 (December 1, 2013): 251–54. http://dx.doi.org/10.1386/jmte.6.3.251_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Dotson, Matthew. "Seventeenth Florida Electroacoustic Music Festival." Computer Music Journal 32, no. 4 (December 2008): 79–82. http://dx.doi.org/10.1162/comj.2008.32.4.79.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

ATKINSON, SIMON, and LEIGH LANDY. "The ElectroAcoustic Resource Site (EARS): philosophy, foundation and aspirations." Organised Sound 9, no. 1 (April 2004): 79–85. http://dx.doi.org/10.1017/s135577180400010x.

Full text

Abstract:

This paper introduces the ElectroAcoustic Resource Site project (EARS), taking a tripartite approach: first outlining the project's philosophy, then reporting on work-to-date and finishing with a discussion of the project's ambitions and aims.The project's aim is the development of a dynamic, multi-lingual, international, publicly available Internet-based bibliographical resource designed to enhance the scholarly infrastructure of electroacoustic music studies, in particular, the musicology of electroacoustic music. Through the use of hypertext structures and linking systems the site will help to contextualise specific research within the broad field of electroacoustic music studies, as well as making helpful links between related areas/items of scholarship. The project aspires to assist access to current, past and evolving areas of scholarship and will attempt to redress certain imbalances in the ease of access to areas of research within the field. The project will strive to conceive of electroacoustic music in its widest possible sense, acknowledge the interdisciplinary nature of the field, and aspire to the greatest possible breadth and inclusiveness. The EARS project is coordinated by an international consortium, is directed by the authors and can be found at http://www.mti.dmu.ac.uk/EARS

APA, Harvard, Vancouver, ISO, and other styles

41

Loy, D. Gareth, Bill Matthews, Joe Catalano, Stephen Smoliar, Jeff Harrington, and Allan Gordon Bell. "Why Is Good Electroacoustic Music So Good? Why Is Bad Electroacoustic Music So Bad?" Computer Music Journal 18, no. 3 (1994): 7. http://dx.doi.org/10.2307/3681173.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Brummer, Ludger. "Why Is Good Electroacoustic Music So Good? Why Is Bad Electroacoustic Music So Bad?" Computer Music Journal 18, no. 4 (1994): 7. http://dx.doi.org/10.2307/3681349.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

METZELAAR, HELEN. "Women and ‘Kraakgeluiden’: the participation of women improvisers in the Dutch electronic music scene." Organised Sound 9, no. 2 (August 2004): 199–206. http://dx.doi.org/10.1017/s1355771804000287.

Full text

Abstract:

The field of electroacoustic improvisation in the Netherlands is largely male dominated. Flutist, improviser and composer Anne La Berge signalled this and other problems related to gender in ‘Kraakgeluiden’, a Dutch venue for improvisation in electroacoustic music. Four possible factors contributing to gender discrimination are proposed: the stereotypical gendered concept of an improviser, differences in communicative styles, the dominance of male networks, and music technology itself. This is followed by a consideration of gendered differences in music improvisation. It is posited that male improvisers often seek to establish a hierarchy among themselves, while women performers tend to project themselves less to the forefront. Women improvisers may traditionally have a different sense of autonomy, in adherence to gender norms. While music education might offer a means to change behaviour patterns, it appears that these gender norms are internalised at a surprisingly young age. While concentrating on electroacoustic improvisation, this essay also includes relevant experiences of other improvisers. Gender discrimination in electroacoustic music improvisation is a complex issue deserving more research.

APA, Harvard, Vancouver, ISO, and other styles

44

Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.

Full text

Abstract:

From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik

APA, Harvard, Vancouver, ISO, and other styles

45

Stockhausen, Karlheinz, and Jerome Kohl. "Electroacoustic Performance Practice." Perspectives of New Music 34, no. 1 (1996): 74. http://dx.doi.org/10.2307/833486.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Emmerson, Simon. "The electroacoustic harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 35–58. http://dx.doi.org/10.1080/07494460100640051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

HIGGINS, ANNA-MARIE, and KEVIN JENNINGS. "From Peering in the Window to Opening the Door: a constructivist approach to making electroacousticmusic accessible to young listeners." Organised Sound 11, no. 2 (August 2006): 179–87. http://dx.doi.org/10.1017/s1355771806001464.

Full text

Abstract:

A casual listener may not have the relevant cognitive tools to relate to electroacoustic music as an independent art form. Even music students who have had several years' formal training may not know how to listen purposefully to it. The authors investigate the hypothesis that by engaging in the composition of musique concrète, students will become more informed listeners to electroacoustic music in general. This study describes a teacher and ten 16-year-old high school students who use a digital audio editor (Cool Edit Pro) to manipulate sound and to structure sound events. A variety of teaching approaches are tested. Having experienced the creative process, the participants display a growing ability to engage in higher-order critical thinking skills in relation to electroacoustic music.

APA, Harvard, Vancouver, ISO, and other styles

48

Blackburn, Manuella. "The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition." Organised Sound 16, no. 1 (February 25, 2011): 5–13. http://dx.doi.org/10.1017/s1355771810000385.

Full text

Abstract:

Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive application. Spectromorphology's influence has been far reaching, inciting approaches to electroacoustic music analysis (Thoresen 2007), notation (Patton 2007), composition and education through its flexible functionality and accessible pool of vocabulary.

APA, Harvard, Vancouver, ISO, and other styles

49

TRUAX, BARRY. "Sounds and sources in Powers of Two: towards a contemporary myth." Organised Sound 1, no. 1 (April 1996): 13–21. http://dx.doi.org/10.1017/s1355771896000131.

Full text

Abstract:

Within the context of discussing contemporary music the European tendency to overvalue abstraction is questioned. The use of environmental sounds in electroacoustic music is highlighted as an example of the questionable value of abstraction. Attention is then focused on a recent Truax composition, Powers of Two (1995) as a work of electroacoustic music theatre. The historical musical and poetic references, as well as the sound sources adopted for the work, are discussed, and placed within the human framework of relationship embodied in the piece. A concluding section summarises the work as an attempt to create a contemporary myth from historical sources, and as a dramatic expression employing electroacoustic forces.

APA, Harvard, Vancouver, ISO, and other styles

50

Power, Stephanie. "Bangor New Music Festival and INTER/actions Festival and Symposium, 2014." Tempo 68, no. 269 (June 16, 2014): 72–74. http://dx.doi.org/10.1017/s0040298214000126.

Full text

Abstract:

The Bangor New Music Festival has taken place annually at Bangor University School of Music since its inception in 2000. It is the only festival dedicated to new music in North Wales, and its programme typically encompasses a diverse range of styles and types of performance, including events curated by Electroacoustic Wales, an organisation that ‘exists to promote and encourage the creation and dissemination of electroacoustic music within Wales and beyond’, and which is also based at the University.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!