Academic literature on the topic 'Electronic music Europe History and criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Electronic music Europe History and criticism.'
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.
Journal articles on the topic "Electronic music Europe History and criticism"
1
Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.
Full textAbstract:
Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
2
Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
Full textAbstract:
In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
3
Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.
Full textAbstract:
From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.
4
Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
Full textAbstract:
In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
5
Kurbak, Maria. "Madness of the Society and Madness of the Writer: Wopko Jensma and the Politics of Apartheid." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020554-8.
Full textAbstract:
This article focuses on the biography and works of South-African poet, writer and artist Wopko Jensma. He was often referred to as “the first South-African”, implying that he, like no other, was able to merge his own culture — that of Afrikaaners — with mythology, music and languages of black and coloured population of the SAR. His works had been exhibited in the USA and Europe and had been forbidden in his homeland as the consequence of his criticism of Apartheid. Jensma, like no other South-African poet, exploited the theme of loneliness, alienation and restlessness. He was not able to close his eyes on the crimes committed by his nation and unable to demonstrate ignorance towards the suppressed groups of people. This feeling of frustration had been growing and, combined with anxiety and helplessness, at the end brought him to schizophrenia. This article concentrates on the analysis of the challenging creative track pursued by Jensma against the background of historical events of Apartheid period. It demonstrates the way how aggressive politics of the State leads to the development of “sick” society, increasing aggression, disintegration, emergence of “double-thinking”, a maddening feeling of being involved in crime. It clearly gives birth to the trauma, which is extremely difficult to overcome, even for the entire generation — and sometimes even impossible to overcome.
6
Conversi, Daniele, and Matthew Machin-Autenrieth. "The Musical Bridge—Intercultural Regionalism and the Immigration Challenge in Contemporary Andalusia." Genealogy 4, no. 1 (December 30, 2019): 5. http://dx.doi.org/10.3390/genealogy4010005.
Full textAbstract:
The ideals of tolerance and cultural exchange associated with the interfaith past of Muslim Spain (al-Andalus) have become a symbol for Andalusian regionalism and for the integration of Moroccan communities. Nowhere is this more keenly felt than in the context of music. In cities such as Granada, Moroccan and Spanish musicians actively promote the ideals of intercultural dialogue through the performance of repertoires such as flamenco and Arab-Andalusian music that allegedly possess a shared cultural history. In this article, we examine the interrelationship between music and ‘intercultural regionalism’, focusing on how music is used by public institutions to ground social integration in the discourse of regionalism. Against a backdrop of rising Islamophobia and the mobilization of right-wing populist and anti-immigration rhetoric both within Spain and internationally, the authors consider how music can be used to promote social integration, to overcome Islamophobia and to tackle radicalization. We advance two arguments. First, we argue that the musical interculturalism promoted by a variety of institutions needs to be understood within the wider project of Andalusian regionalism. Here, we note that musical integration of Spain’s cultural and historical ‘Other’ (Moroccans) into Andalusian society is promoted as a model for how Europe can overcome the alleged ‘death of multiculturalism’. The preferential way to achieve this objective is through ‘intercultural regionalism’, envisioned as the combination of regional identity-building and intercultural interactions between communities that share a common cultural heritage. Second, we assess some of the criticism of the efficacy of al-Andalus as a model for contemporary intercultural exchange. Combining approaches in political science and ethnomusicology, we focus on one case study, the Fundación Tres Culturas (FTC). Through interviews with figures within the FTC, we examine why this model has become partly insufficient and how it is borne out in the sorts of musical activities programmed by FTC that seek to move beyond the ‘andalusí’ myth. We conclude by recognizing the continuing regional and international importance of this myth but we question its integrating capacity at a time of radical political, economic and environmental upheaval.
7
Llewellyn, Kathleen M. "A Fantastic Frenzy of Consumption in Early Modern France." Renaissance and Reformation 38, no. 3 (November 27, 2015): 119–40. http://dx.doi.org/10.33137/rr.v38i3.26151.
Full textAbstract:
The enthusiastic (even excessive) consumerism of contemporary western society has its roots, according to some, in the expansion of the consumption of goods in Renaissance Europe. Early modern men and women were ardent, even “passionate” consumers. Such self-indulgence was regarded as decadent and socially perilous; religious and other moral authorities of the era sought to eradicate or at least control these sins of excess. My study examines criticism of “crimes of consumption” in both serious and satirical French literature of the early modern era, including such pamphlets as Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps and Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Scrutiny of these texts suggest that women’s “crimes of consumption” tended to reveal who they “really were”—bad women, sinful women, dangerous women who led men into sin. Men’s crimes of passionate consumption sometimes also revealed their sinful selves—some were seen as gluttons, for example. But men’s consumption was also, at times, condemned as an attempt to appear to be what they were not; their display of acquired objects revealed an effort to claim membership in a social class to which they did not belong.
Le consumérisme enthousiaste (et même démesuré) de la société occidentale contemporaine a ses racines, d’après certains, dans l’expansion de la consommation de biens en Europe pendant la Renaissance. Dès les débuts de la modernité, hommes et femmes furent des consommateurs ardents, voire « passionnés ». S’adonner au plaisir d’acquérir était sévèrement condamné par les théologiens et les moralistes. Cet article examine la critique de ces passions excessives dans la littérature morale et satirique de l’époque, incluant les pamphlets tels que Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps et Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Une analyse approfondie de ces textes montre combien la question du gender influe sur l’interprétation de ces passions : la femme coupable de tels excès y est vue mauvaise, pécheresse, dangereuse pour l’homme ; l’homme, quant à lui, est condamné pour dissimuler et vouloir paraître autre que ce qu’il est, entendre d’une autre classe que celle à laquelle il appartient.
8
Desrosiers, Diane, and Jean-Philippe Beaulieu. "L’écriture féminine à la Renaissance française sous le regard des chercheurs canadiens." Renaissance and Reformation 37, no. 4 (April 30, 2015): 3–18. http://dx.doi.org/10.33137/rr.v37i4.22637.
Full textAbstract:
Au cours des dernières décennies, un travail considérable a été accompli par les chercheurs canadiens dans l’exhumation et la réhabilitation des textes des femmes de lettres de la Renaissance française. En raison de leur positionnement géographique à l’intersection des États-Unis et de l’Europe, ces chercheurs participent à la fois des avancées de la recherche française en matière d’érudition et des percées théoriques de la réflexion nord-américaine, enrichie par les gender studies et les études culturelles. Cela explique en partie le caractère original de leur contribution à ce champ de recherche, tant par le choix de leur objet d’étude et l’exploration de corpus marginaux que par l’approche critique et le positionnement théorique qu’ils ont adoptés. Le présent article vise à cerner la spécificité des activités de recherche menées en langue française au Canada dans les domaines bibliographique, éditorial et critique, en portant une attention particulière aux enjeux théoriques et idéologiques des choix effectués par les chercheurs.
Over the past few decades, significant work has been accomplished by Canadian researchers unearthing and recovering texts by the women writers of the French Renaissance. Because of their geographical location—at the intersection of the United States and Europe—these researchers share simultaneously in the advances of French research in the discipline of scholarship and in the theoretical breakthroughs of North American thought informed by gender and cultural studies. This explains, in part, the unique character of their contribution to this field of research — as much for their chosen object of study and exploration of a marginal corpus of work as by their adoption of a certain critical approach and theoretical position. This article seeks to outline the specific features of research activities undertaken in the French language in Canada in the areas of bibliography, editing, and criticism, highlighting in particular the theoretical and ideological issues at stake in the choices made by the researchers.
9
Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
Full textAbstract:
The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
10
Yungblud, V. T., and M. V. Bakshaev. "“We Will Not Change Our Attitude Towards You, Until You Change Your Attitude Towards Us”. How Washington Considered the Reaction of Western European Communist Parties to The Events in Afghanistan, 1978–1985." MGIMO Review of International Relations 15, no. 4 (September 9, 2022): 7–42. http://dx.doi.org/10.24833/2071-8160-2022-4-85-7-42.
Full textAbstract:
The invasion of a limited contingent of Soviet troops into Afghanistan at the end of 1979 caused a mixed reaction among the Communist parties in Europe. Some of them subject the actions of the USSR leadership to sharp criticism. The article reveals to what extent the US administration was aware of the critical attacks against the USSR and the CPSU by the most powerful Western European Communist parties to determine how the factor of Eurocommunism influenced the Afghan vector of the US policy in 1979-1982 and how the American course turned out for the Communist parties themselves. The study is based on published documents (including electronic collections) of the Administration of the President of the United States J. Carter, the State Department, and the Central Intelligence Agency of the United States, as well as unpublished documents of the Central Committee of the CPSU from the funds of the Russian State Archive of Modern History, press materials and memoirs. It is concluded that 1) the invasion of Soviet military units into Afghanistan provoked a fierce battle of superpowers on the periphery of the Cold War, and in fact, became its peak; 2) one of the results of the Soviet operation was a deeper split in the world communist movement with its subsequent decline; 3) the United States sought to take advantage of the escalated disagreements between the Communist Party of the Soviet Union and the largest communist parties in Western Europe (especially Italian, to a lesser extent Spanish and French) and encouraged the actions of the European Communists aimed at distancing themselves from the CPSU and severing relations with the USSR. At the same time, Washington avoided public statements and actions that could look like a manifestation of solidarity with the Communist parties of Western Europe (primarily with the ICP), including the relation to the USSR policy in Afghanistan, giving priority to the policy to exclude completely the possibility for communists to participate in the governments of NATO states. Such a policy, against the background of the ongoing war in Afghanistan and the decline in the USSR's international prestige, contributed to the isolation of the European communist parties in their countries and the weakening of their electoral opportunities.
Dissertations / Theses on the topic "Electronic music Europe History and criticism"
1
Powers, Ollie D. "Interactions between composers and technology in the first decades of electronic music, 1948-1968." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.
Full textAbstract:
New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been little explored. This study attempts to document some of these interactions.The influences of the equipment and procedures of "classical studio technique" on the resulting music are examined. Selected electronic compositions are analyzed in terms of the equipment employed and the limitations this equipment may have imposed. The study reveals characteristics of certain works that are directly dependent on characteristics of the technology. New devices or procedures developed by composers are also detailed.Areas examined include disc technology, magnetic tape, oscillators and generators, filters, modulators and other devices, techniques of spatialization in multi-channel works, and a sampling of specialized devices or procedures used by individual composers. The influences excercised by voltage-controlled synthesizers, such as those designed by Robert Moog and Donald Buchla, are also discussed.Works by the following composers are studied: Bulent Arel, Henk Badings, Louis and Bebe Barron, Luciano Berio, Robert Beyer, John Cage, Mario Davidovsky, Tod Dockstader, Herbert Eimert, Kenneth Gaburo, Paul Gredinger, Karel Goeyvaerts, Bengt Hambraeus, Pierre Henry, Giselher Klebe, Gottfried Michael Koenig, Gyorgy Ligeti, Otto Luening, Bruno Maderna, llhan Mimaroglu, Pauline Oliveros, Henri Pousseur, Dick Raaijmakers, Pierre Schaeffer, Karlheinz Stockhausen, Vladimir Ussachevsky, and Edgard Varese. The writings of Milton Babbitt, Joel Chadabe, and Gustav Ciamaga also contributed significantly.Supplementary information is provided by Jon Appleton, Joel Chadabe, Tod Dockstader, Bengt Hambraeus, David Keane, Arthur Kreiger, Elliott Schwartz, Daria Semegen, Pril Smiley, Gil Trythall, and Scott Wyatt in response to a questionnaire concerning their experiences with classical studio technique.This study reveals that a wide area exists for further research on this topic.School of Music
2
Dribus, John Alexander. "Characterizing Noise and Harmonicity: The Structural Function of Contrasting Sonic Components in Electronic Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30427/.
Full textAbstract:
This dissertation examines the role of noise in shaping the form of several recent musical compositions. This study demonstrates how the contrast of noisy sounds and harmonic sounds can impact the structure of compositions. Depending on context, however, the specific use and function of noise can vary substantially from one work to the next. The first portion of this paper describes methods for quantifying noise content using FFT analysis procedures. A number of tests on instrumental and synthetic sound sources are described in order to demonstrate how the analysis system may react to certain sounds. The second part of this document consists of several analyses of whole musical works. Works for acoustic instruments are examined first, followed by works for electronic media. During these analyses, it becomes clear that while the use of noise in each work is based largely upon context, some common patterns do exist across different works. The final portion of the paper examines an original work which was written with the function of noise specifically in mind. The original work is put through the same analysis procedures as works seen earlier in the paper, and some conclusions are drawn regarding both the possibilities and limitations of noise analysis as a compositional tool.
3
Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
Full textAbstract:
The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.
4
Smith, Jeffrey B. 1957. "Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279115/.
Full textAbstract:
This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic
music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.
5
Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.
Full text
6
Pounds, Michael S. "Using spatial analogy to determine musical parameters in algorithmic composition." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/958778.
Full textAbstract:
This thesis presents a method of algorithmic composition in which the music is seen as motion through a multidimensional musical space. An analogy is drawn between physical space and musical space, each direction of the physical space corresponding to a musical parameter. A computer program was developed using the MAX programming environment to simulate the goaldirected motion of a mobile robot through an environment containing obstacles. The potential field method of mobile robot path planning was used. The program maps the location of the robot to musical parameters in the musical space. Based on the instantaneous values of the musical parameters, the program generates melodic material and transmits the resulting MIDI data to a synthesizer. For this research, the program was limited to three spatial dimensions and one obstacle. The program successfully created simple compositions consisting of large musical gestures. A model composition was created. Suggestions were made for further development and more elaborate applications of the method.School of Music
7
Justeson, Jeremy Bradford. "Performance aspects in compositions for saxophone and tape David Heuser's Deep blue spiral, Paul Rudy's Geographic bells, and James Mobberley's Spontaneous combustion /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023553.
Full text
8
Waschka, R. 1958. "Let Me Make it Simple for You." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331223/.
Full textAbstract:
Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.
9
Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
Full textAbstract:
Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
10
Brandenburg, Octavia. "Aspects of Performance in Three Works for Piano and Tape: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278378/.
Full textAbstract:
This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.
Books on the topic "Electronic music Europe History and criticism"
1
Sound exchange: Experimentelle Musikkulturen in Mittelosteuropa = experimental music cultures in Central and Eastern Europe. Saarbrücken: Pfau, 2012.
Find full text
2
Music in medieval Europe. Englewood Cliffs, N.J: Prentice Hall, 1989.
Find full text
3
Holmes, Thomas B. Electronic andexperimental music. New York: Scribner's, 1985.
Find full text
4
Allen, Patrick. World of music: Europe. Chicago, Ill: Heinemann Library, 2007.
Find full text
5
Renaissance music: Music in Western Europe, 1400-1600. New York: Norton, 1998.
Find full text
6
Electronic and computer music. 4th ed. New York: Oxford University Press, 2013.
Find full text
7
Baroque music: Music in Western Europe, 1580-1750. New York, NY: W.W. Norton & Company, 2004.
Find full text
8
Jakus, Jean. Musique et Europe. Bruxelles: Memor, 2004.
Find full text
9
Jakus, Jean. Musique et Europe. Bruxelles: Memor, 2003.
Find full text
10
Electronic music in Japan. Tōkyō: Asupekuto, 2001.
Find full textBook chapters on the topic "Electronic music Europe History and criticism"
1
Concilio, Carmen. "‘Following’ Teju Cole’s ‘Black Portraitures’ On Zigzagging Between (Digital) Literature, Photography, Art History, Music and Much More…" In Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/016.
Full textAbstract:
In this chapter, I will explore ‘black portraitures’ in Teju Cole’s writings, photos, and art history lessons, while ‘following’ his journeying – geographic, literary, photographic, digital – in both his photo essays and criticism Known and Strange Things (2016), Blind Spot (2016), in his novel Open City (2011) and his latest essay collection Black Paper (2021). I intend to study his poetics, his aesthetics and his ethical stance, particularly in relation to his re-formulation of postcolonial paradigms. Intersecting trajectories with works by Caryl Phillips (The European Tribe, 1987) and by Johny Pitts (Afropean. Notes from Black Europe, 2019) will also be considered.
2
Bowditch, Rachel. "Republic of the Imagination, Burning Man and the culture of radical self expression." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3020.
Full textAbstract:
Burning Man, it could be argued, is the best party on the planet and one of the most elaborate and complexly engineered. Where else could you have a dance party on a large duck where everyone is dressed as their fantasy avatars; or sit on an art car called ‘The Bleachers’ designed like stadium seating to watch and be watched, complete with referees in the standard black and white attire directing playa traffic; or mount a double-decker bus that resembles an underground rave in Eastern Europe; or dangle from cables as you smash your opponent to hard core punk rock at the Thunderdome; or find yourself at a large open-aired dance party with over 5000 people dancing to the world’s most famous DJs and electronic music acts such as Bassnectar and Beats Antique? Burning Man has elevated the art of partying to epic proportions from mobile niche environments to large-scale international acts drawing crowds of thousands. At Burning Man, you can create your own experience and any desire you might have can be found and fulfilled on the playa. It is as if everyone’s fantasy is being played out simultaneously and it is in the collision of these fantasies that meaningful encounters occur. However, to confine and reduce analysis of Burning Man to ‘the world’s best party’ would be to overlook the intricate complexity and layers that constitute this epic annual desert event. The evolution and history of the event has been well documented from a variety of perspectives (See Doherty, Bowditch, Chen, Gilmore, and others) so I will not repeat those histories here. The first official book to chart the history of the event was Brian Doherty’s This is Burning Man: The Rise of a New American Underground (2006) mapping the early formative years of the event from its inception in 1986 on Baker Beach in San Francisco, the impact of the Cacophony Society on the development of the Burning Man ethos, to the transfer of the event to the Black Rock Desert in Nevada in 1990.