Journal articles on the topic 'Electronic; music; composition'
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Collins, Nick. "Corposing a History of Electronic Music." Leonardo Music Journal 27 (December 2017): 47–48. http://dx.doi.org/10.1162/lmj_a_01010.
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A current research project led by the author has collated nearly 2,000 historic electronic music works for the purposes of musicology; nonetheless, this collection is highly amenable to composition. New pieces can be realized by rendering a selected chronology of electronic music history. The context is a wider field of compositional endeavor in “corposition” over large audio databases especially opened up by new research in music information retrieval.
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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.
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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.
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Nevels, Daniel L. "Using music software in the compositional process: A case study of electronic music composition." Journal of Music, Technology and Education 5, no. 3 (January 1, 2013): 257–71. http://dx.doi.org/10.1386/jmte.5.3.257_1.
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IVERSON, JENNIFER. "The Emergence of Timbre: Ligeti's Synthesis of Electronic and Acoustic Music in Atmosphères." Twentieth-Century Music 7, no. 1 (March 2010): 61–89. http://dx.doi.org/10.1017/s1478572211000053.
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AbstractIn 1957, soon after his emigration from Hungary, György Ligeti began an internship at the electronic music studio of Westdeutscher Rundfunk (WDR) in Cologne. The three electronic works Ligeti produced there constitute a small portion of his oeuvre, but it is commonly acknowledged that his experiences in the studio were crucial for his stylistic development. This article makes specific analytical connections between the techniques of elektronische Musik that Ligeti encountered at the WDR and his sound-mass techniques in acoustic composition. The discourses in circulation in the electronic studio of the 1950s – especially as articulated by Karlheinz Stockhausen, Karel Goeyvaerts, and Gottfried Michael Koenig – reveal a collective obsession with gaining compositional control over timbre. By internalizing and reusing mainstream elektronische Musik techniques such as additive synthesis, filtering, and Bewegungsfarbe in an acoustic form, Ligeti brought timbre forward as the central compositional problem in the acoustic work Atmosphères.
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Anderson, Christopher, Arne Eigenfeldt, and Philippe Pasquier. "The Generative Electronic Dance Music Algorithmic System (GEDMAS)." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (June 30, 2021): 5–8. http://dx.doi.org/10.1609/aiide.v9i5.12649.
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The Generative Electronic Dance Music Algorithmic System (GEDMAS) is a generative music system that composes full Electronic Dance Music (EDM) compositions. The compositions are based on a corpus of transcribed musical data collected through a process of detailed human transcription. This corpus data is used to analyze genre-specific characteristics associated with EDM styles. GEDMAS uses probabilistic and first order Markov chain models to generate song form structures, chord progressions, melodies and rhythms. The system is integrated with Ableton Live, and allows its user to select one or several songs from the corpus, and generate a 16 tracks/parts composition in a few clicks.
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Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.
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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation
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Li, Qiuxiao. "Characteristics of Early Electronic Music Composition in China’s Mainland." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 135–46. http://dx.doi.org/10.1080/07494467.2018.1453347.
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Payling, Dave. "Approaches to Composition in Visual Music: An Artist’s Reflection on Three Original Pieces." Leonardo Music Journal 29 (December 2019): 62–66. http://dx.doi.org/10.1162/lmj_a_01065.
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This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.
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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.
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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (August 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.
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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.
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Palmese, Michael. "THE CURIOUS CASE OF ANTHONY GNAZZO: A LOST AMERICAN EXPERIMENTALIST." Tempo 74, no. 294 (September 1, 2020): 39–47. http://dx.doi.org/10.1017/s0040298220000376.
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ABSTRACTArchival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?
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Lyons, Andrew D. "Ian Fredericks in interview: ideas of an Australian spatial synthesis and mixed media innovator." Organised Sound 6, no. 1 (April 2001): 63–67. http://dx.doi.org/10.1017/s1355771801001091.
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Ian Fredericks played a prominent role in the development of Australian electronic music and mixed media composition from the mid 1970s until 2001. His work in establishing both the SEUSS electronic music studio at Sydney University and the subsequent founding of the computer music and audio-visual composition and performance group watt with Martin Wesley-Smith in 1976, paved the way for the generations of artists that have since explored this field. The author presents lightly edited excerpts from the last interview with Ian Fredericks before his passing on 15 March 2001.
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gluck, robert j. "fifty years of electronic music in israel." Organised Sound 10, no. 2 (August 2005): 163–80. http://dx.doi.org/10.1017/s1355771805000798.
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the history of electronic music composition, technologies and institutions is traced from the founding of the state of israel in 1948. core developments are followed beginning with the founding generation including joseph tal, tzvi avni and yizhak sadai, continuing with the second and third generations of musicians and researchers, living in israel and the united states. the institutional and political dynamics of the field in this country are explored, with a focus on the challenges of building an audience and institutional support, as well as prospects for the future.
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Dudas, Richard. "“Comprovisation”: The Various Facets of Composed Improvisation within Interactive Performance Systems." Leonardo Music Journal 20 (December 2010): 29–31. http://dx.doi.org/10.1162/lmj_a_00009.
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This article discusses the balance between composition and improvisation with respect to interactive performance using electronic and computer-based music systems. The author uses his own experience in this domain in the roles of both collaborator and composer as a point of reference to look at general trends in “composed improvisation” within the electronic and computer music community. Specifically, the intention is to uncover the limits and limitations of improvisation and its relationship to both composition and “composed instruments” within the world of interactive electronic musical performance.
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MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941." Journal of the American Musicological Society 59, no. 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.
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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the perfection of percussion and sliding tones). A previously unavailable recording of Imaginary Landscape No. 1 by Cage's ensemble reveals an unexpected interpretation of the score. Appendices present a chronology of events, a 1937 letter from Cowell to Cage, and a little-known set of Cage's program notes from 1940.
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Gnjatović, Ana, and Svetlana Maraš. "New works the non-existent past of the distant future." New Sound, no. 59-1 (2022): 89–103. http://dx.doi.org/10.5937/newso22059089g.
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The text interprets Svetlana Maraš's electroacoustic radiophonic composition Post-Excavation Activities (2020). The compositional principle, which the author calls the inversion of concrete music, and which includes work with sounds of digital origin whose purpose is to resemble found sound artifacts, has been compared with the imaginary archives. Following the intention of Svetlana Maraš to present the medium as a sounding compositional layer, an analysis was made of which sound objects in this work can be representationally determined and how they participate in the communicativeness of the work of music. The importance of radio as a medium was emphasized, but also the context of the Electronic Studio of Radio Belgrade in which the materials for the composition were created.
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Окунева, Е. Г. "Concept of Serial Music in Western and Russian Musicology: Issues of Terminology." Научный вестник Московской консерватории, no. 4(35) (December 19, 2018): 158–73. http://dx.doi.org/10.26176/mosconsv.2018.35.4.08.
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В статье прослеживается возникновение и развитие понятий серийной и сериальной музыки в различных национальных традициях музыкознания; обнаруживается ряд несоответствий, которые необходимо учитывать при использовании этих понятий в разной языковой среде.Понятие composition sérielle возникло во французском языке в конце сороковых годов как перевод немецкого Reihenkomposition, однако П. Булез в своих теоретических работах предпринял попытку отделить феномен серийности от имени А. Шёнберга. В немецком языке понятие serielle Musik появилось в начале пятидесятых как перевод французской musique sérielle. В 1955 году благодаря К. Штокхаузену и Г. Аймерту термин был переосмыслен и связан исключительно с композициями, развивающими принцип многомерной серийности. С течением времени понятие serielle Musik включило в себя также электронную музыку и постсериальные методы (техника групп, статистическая полевая композиция). В английском языке термин serial music объединяет технику письма Шёнберга и композиторов послевоенного авангарда, а иногда трактуется и как эстетическая категория.Отечественные ученые Ю. Н. Холопов и С. А. Курбатская рассматривают серийную музыку в узком (как технику, использующую высотные серии) и в широком смыслах (как технику, при которой вся ткань выводится из серии любого параметра); сериализмом именуется многомерная серийность (использование серий одновременно в нескольких параметрах). The article traces the formation and the development of the concept of serial music in various national tra-ditions of musicology; the author reveals discrepancy that must be taken into account when using conceptsin different languages.The concept of composition sérielle arose in French in the late 1940s as a translation of the German wordReihenkomposition; however, P. Boulez in his papers attempted to separate the serial phenomenon fromA. Schoenberg’s work. In German, the concept of serielle Musik appeared in the early 1950s as a translationof the French musique sérielle. In 1955, thanks to K. Stockhausen and H. Eimert, the term was rethoughtand associated only with compositions that develop the principle of multidimensional seriality. Eventually,the concept of serielle Musik included electronic music and postserial methods (group composition, statis-tical composition). In English, the term serial music combines Schoenberg’s technique and post-war avant-garde composers’ one, and is sometimes interpreted as an aesthetic category.Russian musicologists Y. N. Kholopov and S. A. Kurbatskaya consider the term серийная музыка in thenarrow sense (as a technique using series of pitches) and in a broad meaning (as a technique, in which theentire texture is derived from a series of any parameter); сериализм means multidimensional seriality (useof series in several parameters simultaneously).
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Bentall, Robert. "Methodologies for Genre Hybridisation." Organised Sound 21, no. 2 (June 30, 2016): 117–26. http://dx.doi.org/10.1017/s1355771816000042.
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This article attempts to explore working methods for developing hybrid tendencies within electroacoustic music compositions. These working methods, such as the novel concept of reconstructive sampling, are each explored with musical examples given. The article opens by giving definitions of genre, and then explores hybridisation as a concept through ideas developed by Duff (2000), Waters (2000) and Frow (2015). While the article focuses on the musical output of the author, personal compositions are placed in a broader context through the discussion of other artists within the wider field of electronic music composition.
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Zagaykevych, Alla, and Ivan Zavada. "Development of electronic music in Ukraine: emergence of a research methodology." Organised Sound 12, no. 2 (July 4, 2007): 153–65. http://dx.doi.org/10.1017/s1355771807001811.
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AbstractIn this article the authors present an overview of the current situation in Ukraine, with regards to the question of analytical terminology applied to new methods of creation in electronic music composition. The article establishes the differences and the similarities between the analyses of instrumental and electronic music structures, while considering the role of technology in the creation of new electronic music works. This paper also establishes a link between the origin of current analytical processes and electronic music practice in Ukraine, taking into account the function of a given terminology and its characteristic elements relating to a local geographical and cultural context. The authors underline the importance of integrating new music forms in academic circles and discuss external influences in the development of new musical systems. This is demonstrated by exposing selected musical materials, which can be considered representative of the creative and theoretical processes found in the field of electronic music in Ukraine.
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Fatianova, Elena Alekseevna. "Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 41–55. http://dx.doi.org/10.7256/2453-613x.2021.5.36938.
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The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise. In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord. The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.
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Salaman, William. "Reflections on progress in musical education." British Journal of Music Education 25, no. 3 (November 2008): 237–43. http://dx.doi.org/10.1017/s0265051708008073.
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This article raises questions about three features of musical education that have been explored in the pages of the British Journal of Music Education (BJME) over the last 25 years: the assessment of creative work; the nurturing of an elite among young musicians; the uses of electronics in music classrooms. The article suggests that teacher-based assessments of pupils' compositional work rarely promote deeper understanding because pupils learn better by considering the extent to which they have fulfilled their own musical intentions. The dilemma of serving the needs of all pupils while attending to the musical needs of the most gifted musically is explored, and it is suggested that, inter alia, pupils aged 12 should have a strong voice in their choices within arts education. Electronic keyboards have become sufficiently embedded in schools for broad judgements to be made. There are few signs that basic electronic keyboards offer expressive opportunities of value whereas the use of computers in support of composition have led to results of quality that merit close attention.
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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.
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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.
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Roads, Curtis. "The Second STEIM Symposium on Interactive Composition in Live Electronic Music." Computer Music Journal 10, no. 2 (1986): 44. http://dx.doi.org/10.2307/3679484.
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Grossmann, Rolf. "The tip of the iceberg: laptop music and the information-technological transformation of music." Organised Sound 13, no. 1 (February 29, 2008): 5–11. http://dx.doi.org/10.1017/s1355771808000022.
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AbstractUnderstanding laptop music requires more than a new perspective on the configuration of a ‘weareable computer and an audio interface’ as a musical instrument for performance. It combines the strategies and traditions of electronic media-related music composition of the twentieth century, like reproductive music, electronic music, computer music and Net music in a single, digital, multi-purpose device originally designed for business and multimedia applications. Consequently, what we hear is mostly not a genuine laptop music, but one facet of the information-technological transformation of music that has been the result of the digital integration of these established traditions. This article gives an overview of the aesthetic implications of these traditions and with respect to laptop performance and musical style.
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Ungeheuer, Elena. "From the elements to the continuum: Timbre composition in early electronic music." Contemporary Music Review 10, no. 2 (January 1994): 25–33. http://dx.doi.org/10.1080/07494469400640271.
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Görgün, İpek. "Exploring Temporality in Horacio Vaggione’s Compositional Thought." Organised Sound 25, no. 2 (August 2020): 168–78. http://dx.doi.org/10.1017/s1355771820000072.
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This article aims to elaborate Horacio Vaggione’s theoretical approach towards electronic music composition and his understanding of the musical structure, and to discuss how some of his key concepts come into presence during the compositional experience of temporality. Following the introduction of object-oriented composition and musical networks, I will discuss the concept of morphology alongside an investigation of how these ideas relate to temporality. In addition to this inquiry, I will briefly explore the possibilities of an ontological discussion on Vaggione’s compositional mindset and how his temporal perspective differs from some of his colleagues.
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Kibitkina, Elina Vadimovna, and Elena Alekseevna Fatianova. "Academic music transcript modeling using electronic sound synthesis." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 87–97. http://dx.doi.org/10.7256/2453-613x.2020.6.33591.
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Nowadays, computer technologies are integrated into all art forms. New artistic directions emerge which are totally based on multimedia (primarily audio-visual) instruments. The question about the role of music art in the new cultural paradigm becomes topical. Based on the example of academic music, the article considers the possibilities of using programming tools for music scores processing into a transcript. The authors consider the possible mathematical model of a piece of music which allows processing the piece of music and getting both an authentic and an experimental version. The authors analyze the set of parameters helping to form a virtual acoustic space corresponding with an artistic concept. The authors demonstrate that academic music transcript modeling using electronic sound synthesis can promote the artistic reinterpretation of the score of the piece of music. The selection of particular timber, performance and spatial parameters during transcribing helps to interpret a composition according to the artistic tasks. The use of virtual instruments also allows creating digital recordings without performing musicians. The article contains the variants of forming a virtual acoustic environment based on the example of a classical piece of music for string quartet: from a “traditional” to an “experimental, differing in musical sources positioning, a set of spatial effects and the parameters of their adjustment.
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Gurevich, Michael. "Interacting with Cage: Realising classic electronic works with contemporary technologies." Organised Sound 20, no. 3 (November 16, 2015): 290–99. http://dx.doi.org/10.1017/s1355771815000217.
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At a time when tape music, which obviated the need for performers by eliminating interpretation after composition, was becoming the dominant paradigm for electronic music, John Cage, motivated by his inchoate aesthetic of indeterminacy, radically reimagined electronic music that ‘treats machines as things to perform with’. In the 1950s and 1960s, Cage employed electronic technologies in place of musical instruments in concert music, but also reframed the creation of tape music by following a score to be a performative act. Although Cage idealised a liberal approach to performance practice and maintained a modernist, utilitarian attitude towards technological progress, his actions and scores reflect allegiance to the ‘work concept’ (Goehr 1992). Twenty-first-century performers of Cage’s electronic music are challenged to address the seemingly paradoxical imperatives of technological progressivism and creative interpretation with fidelity to a work embodied in a score. This article discusses efforts to reconcile these forces in contemporary realisations using the interactive technologies of three of Cage’s classic electronic works. The development of interactive performance interfaces in response to musical requirements of a score is presented as an important but overlooked model for the development of new interfaces for musical expression.
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Bertelsen, Olav W., Morten Breinbjerg, and Søren Pold. "Emerging Materiality: Reflections on Creative Use of Software in Electronic Music Composition." Leonardo 42, no. 3 (June 2009): 197–202. http://dx.doi.org/10.1162/leon.2009.42.3.197.
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The authors examine how materiality emerges from complex chains of mediation in creative software use. The primarily theoretical argument is inspired and illustrated by interviews with two composers of electronic music. The authors argue that computer mediated activity should not primarily be understood in terms of simple mediation, but rather as chains of complex mediation in which the dominant form of representation is metonymy rather than metaphor.
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D’Agostino, Mirko Ettore. "Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology." Organised Sound 25, no. 1 (March 4, 2020): 106–15. http://dx.doi.org/10.1017/s1355771819000505.
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Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.
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Delaere, Mark. "Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music." Tempo, no. 195 (January 1996): 2–5. http://dx.doi.org/10.1017/s0040298200004708.
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‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.
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Magnusson, Thor. "ERGODYNAMICS AND A SEMIOTICS OF INSTRUMENTAL COMPOSITION." Tempo 73, no. 287 (December 24, 2018): 41–51. http://dx.doi.org/10.1017/s0040298218000633.
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AbstractThis article examines the techno-philosophical aspects of how we create and understand musical systems in twenty-first century computational media. Arguing that processor-based media have exploded the compositional language of new music, the article proposes a set of concepts that might help us navigate this new space of instrumental possibilities. The term ‘ergodynamics’ – and related concepts – is proposed as a useful concept when describing the phenomenological, historical and aesthetic aspects of musical instruments, as well as a lens for looking at new compositional practices that can be defined as being either ‘idiomatic’ or ‘supra-instrumental’. The article explores the difference in composing for acoustic, electronic and digital instruments, and suggests that new musical practice can be characterised by a move from composing work to inventing systems.
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Rudi, J. "Computer Music Composition for Children [DSP Education]." IEEE Signal Processing Magazine 24, no. 2 (March 2007): 140–43. http://dx.doi.org/10.1109/msp.2007.323280.
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Napolitano, M. "A language symphony: Sasha Sokolov’s Triptych and its musical motifs." Voprosy literatury, no. 3 (June 22, 2021): 124–47. http://dx.doi.org/10.31425/0042-8795-2021-3-124-147.
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This article focuses on the characteristics of Sasha Sokolov’s writing and the role that music plays in his verbal composition. Drawing on evidence from the writer’s biography, comments and interviews, it is possible to identify a specific connection between Sokolov’s proezia and his understanding of music composition — a connection that has yet failed to be grasped and examined by critics. Sokolov’s most recent literary work Triptych (2011) provides the reader with a set of clues helping to reveal the connection of Sokolov’s oeuvre with the world of music. Building on that, the author of the article intends to further explore the ways through which music partakes in the verbal composition of Triptych. The results point to the possibility of reconsidering the whole of Sasha Sokolov’s oeuvre from a novel point of view, one that would highlight the meaning of music in his literary works.
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Холопова, В. Н. "The Concept of “Multimedia” in the Music of Igor Kefalidi." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 10–17. http://dx.doi.org/10.26176/otmroo.2019.28.4.002.
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Понятие «мультимедиа» в настоящее время весьма широко используется в образовании, науке, искусстве, рекламе; в сфере музыки — в клипах развлекательных жанров. Задача статьи — очертить круг явлений мультимедиа в творчестве композитора академической традиции — И. Л. Кефалиди. Наиболее типична для данного автора трехкомпонентность: электронные звуки, звучание акустических инструментов и видеоряд — в частности, в его лучших сочинениях «TapeEхt», «S_S_S». Кроме того, имеются произведения, включающие: инструментальный театр — электроника, ударные инструменты, театральные движения, видео («Percato molto»); танец — электроника, танец, ударные, видео («Sophisteia»); партию вокала — электроника, человеческий голос, духовые, видео («…so und auch so…»); использование лазерных лучей («Feu le fol, eh!»). У других авторов композитор отмечает мультимедиа без электроники: инструментальный ансамбль и видео (Ф. Парис). В качестве показательного примера в статье разбирается сочинение «S_S_S», созданное в сотрудничестве с художником Э. Квинном. At the present time the concept of “multimedia” is quite widespread and is used in education, science, art and advertisement; in the sphere of music it is used in clips of entertainment genres. The aim of the article is to trace the circle of phenomena of multimedia in the works of a composer of the academic tradition – Igor Kefalidi. Most typical for this composer is the following triad of components: electronic sounds, the sounding of acoustic instruments and video footage, in particular, in his best compositions – “TapeEхt” and “S_S_S”. In addition, the composer has written compositions, which include: instrumental theater – electronics, percussion instruments, theatrical motions and video (“Percato molto”); dance – electronics, dance, percussion and video (“Sophisteia”); vocals – electronics, human voice, wind instruments and video (“…so und auch so…”); employment of laser beams (“Feu le fol, eh!”). The author knows multimedia works by other composers without electronics: instrumental ensemble and video (Francois Paris). As a representative example, the article examines the composition “S_S_S”, created with the assistance of artist Andrew Quinn.
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Heidenreich, Achim. "‘Shaping Electronic Sounds like Clay’: The historical situation and aesthetic position of electroacoustic music at the ZKM | Institute for Music and Acoustics." Organised Sound 14, no. 3 (December 2009): 248–56. http://dx.doi.org/10.1017/s1355771809990069.
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Twenty years after the founding of the Karlsuhe ZKM | Center for Art and Media and its Institute for Music and Acoustics, we reexamine the institute’s position with regard to both aesthetic approaches and the 20 years of a reunified Germany. When the broadcasting corporations in West Germany decided to discontinue support for all of their electronic music studios except the Southwest German Radio’s Experimental Studio in Freiburg, the Institute for Music and Acoustics took on a special role that also had an impact on the course of music history in former East Germany. Together with the studio at the Berlin Academy of the Arts, the Institute became a studio for electroacoustic art that served the whole of Germany, though financed by local funding from the City of Karlsruhe and regional funding from the state of Baden-Württemberg. One of the artistic themes pursued at the ZKM’s Institute for Music and Acoustics is the combination of instruments and voice with electronics, for both theatrical settings and purely concert performances. The aspect of real-time composition gives rise to a lasting alteration of the performance situation and the character of the work produced.
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Morgan, Frances, and James Mooney. "‘The Same Trade as Mozart’: Convincing the sceptics of electronic music’s value." Journal of Popular Television 9, no. 1 (March 1, 2021): 55–77. http://dx.doi.org/10.1386/jptv_00041_1.
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In August 1969, the music documentary series Workshop (1964–78) focused on electronic music in a 55-minute-long film titled ‘The Same Trade as Mozart’. Produced and directed by David Buckton, the film included interviews with composers Karlheinz Stockhausen, Tristram Cary and Justin Connolly; BBC Radiophonic Workshop staff Desmond Briscoe, David Cain and John Baker, and the Workshop’s founder, Daphne Oram; and Peter Zinovieff, director of EMS (Electronic Music Studios). It presented electronic music in a number of contexts, such as education, pop production and live performance. Technological change in music has often provoked hostility among the public and critics, and the rapid advancement of electronic music post-Second World War was no exception. Adopting a mode of analysis more commonly encountered in studies of the public communication of science, this article considers ‘The Same Trade as Mozart’ as an attempt by electronic music’s advocates, such as those listed above, to convince sceptics of its value. While sceptical responses to the presence of new technologies in music have been widely noted and theorized by scholars in science and technology studies, we call attention to the strategies employed by the advocates of such technologies to defend themselves against such criticisms, including humour, heuristic explanations and a focus on electronic music’s educational and thus social value. The use of computers in electronic music was a new and contentious development in the field, requiring a greater degree of advocacy from its proponents. We examine how the computer’s role in composition is presented in ‘The Same Trade as Mozart’, compared with other media portrayals of computing in the 1960s. Drawing on theories of filmed musical performance, we discuss how visual tropes of ‘classical’ music are used in ‘The Same Trade as Mozart’ to challenge preconceptions about the relationships between composers, musicians and new technologies.
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Davis, Dylan. "Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music." Organised Sound 27, no. 1 (April 2022): 7–19. http://dx.doi.org/10.1017/s1355771822000164.
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This article discusses the use of an accessible visual notation system that represents the melodic component of an electronic music composition in acid house music, based on programming the Roland TB-303 bassline synthesiser’s sequencer. This notation system can be used for sharing, composition, collaboration and archival purposes. This system is called an acid pattern. The article analyses a variety of different approaches to communicate acid patterns. It examines the requirements and visual elements used and how they relate directly to the functionality of the Roland TB-303’s sequencer. Through content analysis of images, text and audio data gathered from various music community websites this article furthers the understanding of how the practices and cultures of acid house music composition, notation and archiving are shared online and how they, enabled by web-based technologies, can build communities. This article suggests important possibilities for communities of practice-based around a shared cultural identity, accessible notation systems, and the creation and recreation of music in both online and offline contexts.
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Piryazeva, Elena Nikolaevna. "Trautonium: peculiarities of compositions for the electronic musical instrument." Человек и культура, no. 1 (January 2020): 141–48. http://dx.doi.org/10.25136/2409-8744.2020.1.32243.
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The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.
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Nuanáin, Cárthach Ó., Perfecto Herrera, and Sergi Jordá. "Rhythmic Concatenative Synthesis for Electronic Music: Techniques, Implementation, and Evaluation." Computer Music Journal 41, no. 2 (June 2017): 21–37. http://dx.doi.org/10.1162/comj_a_00412.
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In this article, we summarize recent research examining concatenative synthesis and its application and relevance in the composition and production of styles of electronic dance music. We introduce the conceptual underpinnings of concatenative synthesis and describe key works and systematic approaches in the literature. Our system, RhythmCAT, is proposed as a user-friendly system for generating rhythmic loops that model the timbre and rhythm of an initial target loop. The architecture of the system is explained, and an extensive evaluation of the system's performance and user response is discussed based on our results.
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Skipp, Benjamin. "OUT OF PLACE IN THE 20TH CENTURY: THOUGHTS ON ARVO PÄRT'S TINTINNABULI STYLE." Tempo 63, no. 249 (July 2009): 2–11. http://dx.doi.org/10.1017/s0040298209000229.
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Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of these procedures has naturally resulted in a diminished sense of human labour within the compositional process and, at times, the total loss of a composer's authorial voice. The tintinnabuli music of Arvo Pärt stands out against the general tendency of such repetitive-based composers to harness the latest technology, to the extent that some commentators have baulked at the term ‘minimalist’ as an appropriate category. Robert Schwarz, for example, believes ‘neo-medievalist’ to capture something of Pärt's particular adoption of a supposedly pre-modern, non-technological attitude, while Josiah Fisk opts for the ‘new simplicity’ to describe (negatively) Pärt's monochromaticsm.
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Van De Bogart, Willard G. "Cracking God’s roof: Manifestation and adaptation on the intuitive nature of creating electronic music with tablet computers." Technoetic Arts 18, no. 1 (March 1, 2020): 73–89. http://dx.doi.org/10.1386/tear_00027_1.
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Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioural sense of using them as a musical instrument that can be played intuitively. Exploring this new interface of musical composition is a subject this article will address as well as the psychological aspects pertaining to how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. It will also discuss how the composer of electronic music can affect the listener’s ability to envision new conceptual landscapes, leading to experiencing new ideas and subjective fields of visionary understandings. The composer’s ability to use conceptual models, which influence the way sounds are made and how those sounds influence the listener’s experience, is an important focus of this article.
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Battier, Marc. "Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff." Organised Sound 26, no. 3 (December 2021): 413–18. http://dx.doi.org/10.1017/s1355771821000492.
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The life and times of Peter Zinovieff (1933–2021) have been amply commented upon and there are numerous testimonies of his role on developing electronic music as well as his strong impact on musicians throughout the 1970s. However, besides his important role in developing synthesisers, sound processing and various other devices, he is now recognised as a significant pioneer in music with computers. His collaboration with Harrison Birtwistle’s opera The Mask of Orpheus has been deemed an important contribution to contemporary music in Great Britain. Finally, his late return to composition and performance shows his lifelong attachment to innovation and experimentation in music.
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Gorbunova, Irina B. "The Architectonics of Musical Sound." ICONI, no. 3 (2019): 112–28. http://dx.doi.org/10.33779/2658-4824.2019.3.112-128.
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At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discipline “Informational Technologies in Music” and a set of programs of advanced training, which include “Informational Technologies in Music,” “Informational Technologies in Musical Education,” “Computer Musical Composition,” etc. The first lecture, “The Architectonics of Musical Sound” shall disclose themes connected with the study of the physical characteristics of musical sounds, the means of their recording and reproduction; explanation is given to the aural perception of sound by the human being, and the basic principles of computer generation of musical sound are examined. The material elucidated in the lection possesses a theoretical and practical directedness and contains information in which the technological aspects of contemporary perceptions of music, about the musical instrument range (including computer musical instruments); without knowledge of these aspects a competent interpretation of musical instruments is impossible.
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Miranda, Eduardo Reck, Edward Braund, and Satvik Venkatesh. "Composing with Biomemristors: Is Biocomputing the New Technology of Computer Music?" Computer Music Journal 42, no. 3 (October 2018): 28–46. http://dx.doi.org/10.1162/comj_a_00469.
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Our research concerns the development of biocomputers using electronic components grown out of biological material. This article reports the development of a novel biological memristor and an approach to using such biomemristors to build interactive generative music systems. The memristor is an electronic component regarded as a resistor with memory. After an introduction to harnessing the Physarum polycephalum organism to implement biomemristors, the article presents PhyBox, a biocomputer that uses four biomemristors to generate music interactively. The resistance of a biomemristor varies as a function of the voltage that has passed through it. Music input is represented in terms of voltage transitions and music output is encoded as measurements of the current yielded by the system's memristive behavior. An example of a musical composition using PhyBox is detailed. The article concludes with a short discussion of how the combination between artificial machines and biological organisms is paving the way for the development of new technologies for music based on living processors.
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Miranda, Eduardo Reck. "Genetic Music System with Synthetic Biology." Artificial Life 26, no. 3 (September 2020): 366–90. http://dx.doi.org/10.1162/artl_a_00325.
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This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation information of DNA instructions yielded by the Miranda machine in order to activate algorithms for generating pitches. A musical composition, entitled Artibiotics, for percussion ensemble and electronic instruments, is presented to demonstrate the system.
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Menezes, Flo. "For a morphology of interaction." Organised Sound 7, no. 3 (December 2002): 305–11. http://dx.doi.org/10.1017/s1355771802003102.
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In mixed electroacoustic music it is common to find the erroneous conception according to which interaction should base itself exclusively on the fusion between instrumental writing and electronic devices, whereas the contrast between these sound spheres is as significant as the fusional states. Although fusion may be seen as the most important ingredient for an efficacious compositional strategy concerning interaction, it is actually through contrast that the identities of spectral transfers in mixed composition can be evaluated by the listener. This text intends to introduce a discussion about the many possibilities offered by the morphology of interaction between acoustic sources and electroacoustic resources and structures. In this sense it tries to identify intermediate types between the extremes of pure fusion and pure contrast, which can be established by the composer that sees in interactive music one of the most advantageous poetic realms of electroacoustic music.
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Alifa, Diandra Ramadhani, Rasmida Rasmida, and Martarosa Martarosa. "PERMAINAN KIM: KOMPOSISI MUSIK PROGRAMA DALAM FORMAT MUSIK ELEKTRONIK." Melayu Arts and Performance Journal 3, no. 2 (October 17, 2020): 161. http://dx.doi.org/10.26887/mapj.v3i2.1346.
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ABSTRACTThe KIM game is a traditional Minangkabau game that uses rhymes and numbers. KIM stands for Kesenian Irama Minang (Minang Art Rhythm). The phenomenon that occurs in the current KIM game is the lack of audience awareness of the meaning and message of the rhymes sung by the dendang artis. Departing from this phenomenon, the creator presented a work titled KIM Game: Programa Music Composition in Electronic Music format. The method of creation is carried out with several work groupings: Concept development methods (observation, interviews, data collection and concept formulation) and methods of realizing concepts (exploration, experimentation, and application). ABSTRAKPermainan KIM merupakan suatu permainan tradisi Minangkabau yang menggunakan pantun dan angka. KIM tersebut merupakan singkatan dari Kesenian Irama Minang. Fenomena yang terjadi pada permainan KIM saat ini yaitu, kurangnya kesadaran audiens terhadap makna dan pesan dari pantun yang dilantunkan tukang dendang. Berangkat dari fenomena tersebut pengkarya menghadirkan sebuah karya Permainan KIM: Komposisi Musik Programa dalam format Musik Elektronik. Metode penciptaan dilakukan dengan beberapa pengelompokan kerja: Metode pengembangan konsep (observasi, wawancara, pengumpulan data dan perumusan konsep) dan metode mewujudkan konsep (eksplorasi, eksperimentasi, dan aplikasi).
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TJORA, AKSEL H. "The groove in the box: a technologically mediated inspiration in electronic dance music." Popular Music 28, no. 2 (May 2009): 161–77. http://dx.doi.org/10.1017/s0261143009001767.
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AbstractEven though electronic and computer-based technologies are commonly used in music composition, performance and recording, this field of technology use has, with a few exceptions, remained fairly unexplored within social studies of technology. In this article, the role of technology in music production is investigated by applying the notion of script (Akrich 1992) to an empirical study of users of the Roland MC303 Groovebox, a self-contained instrument for making techno, rap, jungle, hip-hop, acid and other styles of electronic (dance) music. The study focuses especially on individual differences between users' perceptions of the musical-stylistic directedness of the Groovebox and how they construct different user scripts and more advanced needs as they become more familiar with the instrument. The latter observation highlights the relevance of a user trajectory, the notion that enthusiast technology users may keep on using a specific technological artefact through various usage modes or scripts over time.
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BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (December 2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.
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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures. The multiple relationships between technology and composer and performer are dynamic and of paramount importance to each party. And a true consideration of any aspect of music requires that all three areas be examined. This has always been a part of music, and so these relationships are inherently important within computer music. The difference is that electronic technology has caused a fundamental change for all aspects of music, a difference that is as pivotal in the history of Western music as was the shift from oral to written preservation of music over a thousand years ago, and then also the accessibility provided by printed music five hundred years ago. In computer music, all parties are always acutely aware of the presence and influence of machine technology in both the visual and audible realms.