Relevant bibliographies by topics / Electronic music / Journal articles

Journal articles on the topic 'Electronic music'

To see the other types of publications on this topic, follow the link: Electronic music.
Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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

Select a source type:

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

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

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

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

1

Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)." PROMUSIKA 9, no. 2 (March 17, 2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover
2

Vickery, Lindsay. "The Western Edge: some recent electronic music from Western Australia." Organised Sound 6, no. 1 (April 2001): 69–74. http://dx.doi.org/10.1017/s1355771801001108.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
A survey is presented of developments in recent Western Australian electronic music, focusing on the geographical influence on local composers' work. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), Live Electronics (Cathie Travers and the electronic music quartet Magnetic Pig), Interactive Electronics (Jonathan Mustard and Lindsay Vickery) and Noise/Lo Fi Electronics (Cat Hope and Lux Mammoth).
3

Sofer, Danielle. "Categorising Electronic Music." Contemporary Music Review 39, no. 2 (March 3, 2020): 231–51. http://dx.doi.org/10.1080/07494467.2020.1806628.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lewis, Ralph. "Electronic Music Midwest." Computer Music Journal 43, no. 1 (January 2020): 79–87. http://dx.doi.org/10.1162/comj_r_00501.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 9–15. http://dx.doi.org/10.23856/4301.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.
6

Vágnerová, Lucie. "‘Nimble Fingers’ in Electronic Music: Rethinking sound through neo-colonial labour." Organised Sound 22, no. 2 (July 12, 2017): 250–58. http://dx.doi.org/10.1017/s1355771817000152.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
How can historians of electronic music address the factory labour of the global underclass of women building electronics used in sound technologies? How can we speak to the repetitive work of women who are racially and sexually stereotyped as having ‘nimble fingers’, being ‘detail oriented’ and ‘obedient’? Although women workers in electronics assembly are already de facto entangled in contemporary sound production, scholars have yet to enfold their lives and labour into histories of electronic music. I situate electronic sound technologies since the 1960s in the contexts of the global division of labour and the intimate disciplining of women’s bodies, and investigate the discursive fallout of transnational subcontracting in the electronics industry. I argue that rethinking the category ‘women in electronic music’ is a necessary step for sound studies and musicology, and I call for a new disciplinary understanding of electronic sound and audio as fundamentally neo-colonial.
7

Heuguet, Guillaume. "Electronic music history reloaded: Ishkur’s online “Guide to electronic music 3.0”." Sound Studies 6, no. 2 (July 2, 2020): 275–79. http://dx.doi.org/10.1080/20551940.2020.1794332.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
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
9

Mazierska, Ewa. "Improvisation in Electronic Music—The Case of Vienna Electronica." Open Cultural Studies 2, no. 1 (December 1, 2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also examines the difference between old and new style electronic instruments in improvisation and music production at large. Finally, it asks a question whether the musicians had any views about the link (or the lack thereof) between the cultural milieu in which they operate and their willingness and ability to improvise.
10

Hammer, Ernest Lee, and Peter Manning. "Electronic and Computer Music." Computer Music Journal 12, no. 2 (1988): 54. http://dx.doi.org/10.2307/3679942.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Lehrman, Paul D., and Thomas B. Holmes. "Electronic and Experimental Music." Computer Music Journal 10, no. 3 (1986): 93. http://dx.doi.org/10.2307/3680269.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Mallinckrodt, A. John, and Peter Manning. "Electronic and Computer Music." Leonardo 21, no. 2 (1988): 210. http://dx.doi.org/10.2307/1578564.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Rothstein, Joseph. "Pioneers of Electronic Music." American Music 12, no. 1 (1994): 118. http://dx.doi.org/10.2307/3052502.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Verma, Sourav. "Significance of electronic music." International Journal of Applied Research 7, no. 1 (January 1, 2021): 97–99. http://dx.doi.org/10.22271/allresearch.2021.v7.i1b.8159.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Poissant, Louise. "Part III: Electronic Music." Leonardo 34, no. 3 (June 2001): 261–64. http://dx.doi.org/10.1162/002409401750287047.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

CHADABE, JOEL. "Electronic music and life." Organised Sound 9, no. 1 (April 2004): 3–6. http://dx.doi.org/10.1017/s1355771804000020.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
At any moment in the history of a particular culture, there exists a dominant paradigm, an idea in the air, that expresses the way the world works. These paradigms are general and their manifestations are interdisciplinary, first expressed as structures, relationships and processes in the avant gardes of all fields, then gradually accepted as a norm by almost everyone.
17

CHADABE, JOEL. "The Electronic Music Foundation." Organised Sound 2, no. 1 (April 1997): 25–27. http://dx.doi.org/10.1017/s135577189700006x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
The background to the creation of an international resource organisation is discussed. The author goes on to describe various activities of the Foundation, including the provision of hard-to-obtain CDs and access to other materials of interest to the electroacoustic community. The Foundation maintains a substantial presence on the World Wide Web: http://www.emf.org
18

Behague, Gerard, Alcides Lanza, and Meg Sheppard. "Instrumental & Electronic Music." Latin American Music Review / Revista de Música Latinoamericana 18, no. 2 (1997): 337. http://dx.doi.org/10.2307/780404.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Kretschmer, Martin, George Michael Klimis, and Roger Wallis. "Music in Electronic Markets." New Media & Society 3, no. 4 (December 2001): 417–41. http://dx.doi.org/10.1177/14614440122226164.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Segan, Marc Howard. "Electronic acoustic music engine." Journal of the Acoustical Society of America 119, no. 4 (2006): 1910. http://dx.doi.org/10.1121/1.2195812.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Mau, Heidi, and Cheryl L. Nicholas. "“Authenticity” in Popular Electronic Music." Journal of Popular Music Studies 32, no. 1 (March 1, 2020): 106–22. http://dx.doi.org/10.1525/jpms.2020.32.1.106.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who participated in the perpetuation and maintenance of this alternative/indie identity. The Ladytron narrative shows how music artists might maintain an identity alternative to mass culture, while creating their own space within it.
22

Haworth, Christopher. "‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica." Organised Sound 21, no. 1 (March 3, 2016): 15–29. http://dx.doi.org/10.1017/s1355771815000345.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
This article explores the workings of genre in experimental electronic musics. Predominantly sociological in orientation, it has three main foci. First, it addresses practitioners’ and theorists’ resistances to the concept of genre in experimental musics. Drawing on recent developments in genre theory, it discusses the problems of agency, mediation and scale that any discussion of genre calls forth, pitting them alongside theories that emphasise genre’s necessity and inevitability in communication. The second section examines the politics of genre as they play out in practice, focusing on the Prix Ars Electronica festival and the controversy that ensued from the decision to change the name of the Computer Music category in 1999. The analysis focuses on issues of institutional mediation, historicity, genre emergence and the politics of labelling as they come into view when two broad spheres – electroacoustic art music and ‘popular’ electronic music – are brought into the same field together in competition. The third section deepens the analysis of Ars Electronica by zooming in on one of the represented genres, microsound, to examine how it is shaped and negotiated in practice. Using digital methods tools developed in the context of Actor-Network Theory, I present a view of the genre as fundamentally promiscuous, overlapping liberally with adjacent genres. Fusing Derrida’s principle of ‘participation over belonging’ with ANT’s insistence on the agency of ‘non-human actors’ in social assemblages, the map provides a means to analyse the genre through its mediations – through the varied industries, institutions and social networks that support and maintain it.
23

Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (March 4, 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.
24

Shi, X. J., Y. Y. Cai, and C. W. Chan. "Electronic Music for Bio-Molecules Using Short Music Phrases." Leonardo 40, no. 2 (April 2007): 137–41. http://dx.doi.org/10.1162/leon.2007.40.2.137.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
The authors explore protein sonification issues using Morse code theory. Short musical phrases based on protein amino acids are used to compose protein music. Rhythms and tunes familiar to teenagers are also investigated, with the aim of producing different genres of protein music. A special musical instrument, the Chinese guzheng, can be employed to play the protein music. Experiment is carried out with different proteins, including the HIV main protease. It is hoped that this study can help unveil the mysteries of nature and motivate students to learn biology.
25

Puckette, Miller. "Four surprises of electronic music." Lumina 11, no. 2 (August 30, 2017): 126–38. http://dx.doi.org/10.34019/1981-4070.2017.v11.21445.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
The evolution of electronic music practice over the past half century has not gone precisely as we expected. In this paper, we describe four respects in which the development of electronic music was either overtaken by unexpected developments, or, itself, headed in new and unexpected directions.
26

Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.
27

Richards, John. "Beyond DIY in Electronic Music." Organised Sound 18, no. 3 (November 12, 2013): 274–81. http://dx.doi.org/10.1017/s1355771813000241.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the ‘something to take home’ factor. These include the following works: ICA Solder a Score, Noise Shadow, Still and Cut & Thrust. Composing ‘outside’ electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by ‘non-experts’, serves to establish a naïve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community ‘full of experts’ and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: ‘In DIY practice, where does the authentic document of the work lie?’
28

Jackson, Randolph N. "The Future of Electronic Music." Computer Music Journal 13, no. 1 (1989): 10. http://dx.doi.org/10.2307/3679850.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Vantomme, Jason D., and Joe McMahon. "Electronic Resources for Computer Music." Computer Music Journal 18, no. 4 (1994): 8. http://dx.doi.org/10.2307/3681350.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Gligo, Niksa, and Simon Emmerson. "Music, Electronic Media and Culture." International Review of the Aesthetics and Sociology of Music 33, no. 2 (December 2002): 207. http://dx.doi.org/10.2307/4149780.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Chadabe, Joel. "Preserving Performances of Electronic Music." Journal of New Music Research 30, no. 4 (December 1, 2001): 303–5. http://dx.doi.org/10.1076/jnmr.30.4.303.7485.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Terrio, Robert D. "Electronic and Computer Music (review)." Notes 61, no. 3 (2005): 746–49. http://dx.doi.org/10.1353/not.2005.0037.

Full text
APA, Harvard, Vancouver, ISO, and other styles
33

Kuivila, Ron. "David Tudor: Live Electronic Music." Leonardo Music Journal 14 (December 2004): 105. http://dx.doi.org/10.1162/0961121043067334.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Kuivila, Ron. "David Tutor: Live Electronic Music." Leonardo Music Journal 14 (December 2004): 106–7. http://dx.doi.org/10.1162/0961121043067370.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Bijsterveld, Karin. "Electronic and Computer Music (review)." Technology and Culture 46, no. 4 (2005): 867–68. http://dx.doi.org/10.1353/tech.2006.0003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Richards, John. "Editorial: Re-wiring Electronic Music." Organised Sound 18, no. 3 (November 12, 2013): 240–41. http://dx.doi.org/10.1017/s1355771813000204.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Wilson, Daniel R. "Failed Histories of Electronic Music." Organised Sound 22, no. 2 (July 12, 2017): 150–60. http://dx.doi.org/10.1017/s1355771817000061.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
This article counters the canonical histories of electronic music that traditionally begin with Cahill’s Telharmonium and find their historical centre in the activities of the Paris and Cologne studios of the mid-twentieth century. The concept of ‘failed histories’ is introduced here with three important examples. The first chronicles the career of electromusical innovator Johann Baptist Schalkenbach (1824–1910). The second example examines Britain’s earliest electronic sound performance in 1895, signalling a rupture between electromusical bombast and the detailed, quiet work of the experimental laboratory. The third episode looks at the wireless oscillation outrages of the 1920s and 1930s, where electronic tone prematurely trespassed upon musical culture. Taken together, these failed histories offer an alternative narrative of electronic music finding its voice (and losing its voice) in turn-of-the-century Britain.
38

Mayuzumi, Toshiro, and Cathy L. Cox. "Electronic Music 7 Variations (1957)." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 121–25. http://dx.doi.org/10.1080/07494467.2018.1453345.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Bennett, Bruce. "Eighth Electronic Music Midwest Festival." Computer Music Journal 31, no. 2 (June 2007): 73–74. http://dx.doi.org/10.1162/comj.2007.31.2.73.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Schedel, Margaret. "Simon Emmerson: Living Electronic Music." Computer Music Journal 32, no. 4 (December 2008): 83–84. http://dx.doi.org/10.1162/comj.2008.32.4.83.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Harley, James. "Henk Badings: More Electronic Music." Computer Music Journal 35, no. 1 (March 2011): 111–12. http://dx.doi.org/10.1162/comj_r_00046.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
43

Hagan, Kerry L. "The Intersection of ‘Live’ and ‘Real-time’." Organised Sound 21, no. 2 (June 30, 2016): 138–46. http://dx.doi.org/10.1017/s1355771816000066.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum.
44

Lee, Jae Yeon, and Seong-Joon Limb. "A Study on the Factors Affecting Satisfaction and Behavioral Intention of Electronic Dance Music Festival." Korea Association Of Cultural Economics 25, no. 2 (August 31, 2022): 145–72. http://dx.doi.org/10.36234/kace.2022.25.2.145.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
This study identified what factors the audience considers when choosing to visit the EDM festival, and analyzed which selection factors affect satisfaction and behavioral intentions. To this end, a survey was conducted with 317 people who had visited EDM festivals. As a result of the analysis, the audience's choice of EDM festivals were identified as 9 factors (sense of unity factor, sociability factor, service factor, information and accessibility factor, DJ's performance factor, reputation and recognition factor, alcohol price and diversity factor, promotion factor, ticket factor). However, among these EDM festival selection factors, only the sense of unity factor, DJ performance factor, alcoholic beverage price and diversity factor were found to have a significant positive (+) effect on satisfaction and behavioral intention. In particular, it was found that the sense of unity factor related to social interaction, which is a characteristic of EDM festivals, has the greatest influence on the satisfaction and behavioral intention of the audience. The results of this study will be able to provide practical implications for EDM festival planning and marketing.
45

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
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.
46

Li, Lan, and Guan Wang. "Design and Application of Interactive Music Equipment Based on Wireless Wearable Sensors." Scientific Programming 2022 (April 8, 2022): 1–10. http://dx.doi.org/10.1155/2022/4719884.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
The fusion of emerging technology, means, and music has provided a diversified development direction for the performance form of electronic music. Interactive electronic music has become a hot form of music performance in recent years and is widely used in various art exhibitions. In this paper, we will briefly explain the basic principles and practical applications of wireless wearable sensing devices, sort out the development of interactive platforms and sensors, and study the application value of wireless wearable sensing devices in interactive electronic music works. Near-field communication (NFC), as a short-range radio technology, can realize wireless energy and data transmission simultaneously. By integrating NFC modules, electrochemical sensing circuits, and flexible electrodes, it is possible to ensure complete electrochemical sensing functions while maximizing the miniaturization, flexibility, and integration of the system. Therefore, this paper constructs a series of wireless passive flexible electrochemical sensing systems based on NFC technology, electrochemical sensing technology, and flexible electronics, and uses these systems to realize a series of innovative applications, aiming to guide the creation of higher quality interactive music artworks as well as explore the artistic and esthetic experience brought by interactive music functions, and provide theoretical references for virtual art interactive music creation and practice.
47

Delaere, Mark. "Eine angewandte serielle und elektronische Musik?" Archiv für Musikwissenschaft 76, no. 2 (2019): 135. http://dx.doi.org/10.25162/afmw-2019-0007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (April 5, 2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

Full text
APA, Harvard, Vancouver, ISO, and other styles
Abstract:
"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream. Keywords: Schaeffer, Husserl, phenomenology, music, body, aesthetics "
49

Brunsma, David L., Nathaniel G. Chapman, and J. Slade Lellock. "Special Issue ofPopular Music and Society:Race and Electronic Dance Music." Popular Music and Society 39, no. 4 (August 7, 2016): 482–83. http://dx.doi.org/10.1080/03007766.2016.1214008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
50

Minett, Mark. "Beyond the badass: Electronic Dance Music meets film music practice." New Review of Film and Television Studies 11, no. 2 (June 2013): 191–210. http://dx.doi.org/10.1080/17400309.2012.746553.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Electronic music' for other source types:
Dissertations / Theses Books

To the bibliography