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Artículos de revistas sobre el tema "Electronic music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)". PROMUSIKA 9, n.º 2 (17 de marzo de 2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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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

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2

Sofer, Danielle. "Categorising Electronic Music". Contemporary Music Review 39, n.º 2 (3 de marzo de 2020): 231–51. http://dx.doi.org/10.1080/07494467.2020.1806628.

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3

Lewis, Ralph. "Electronic Music Midwest." Computer Music Journal 43, n.º 1 (enero de 2020): 79–87. http://dx.doi.org/10.1162/comj_r_00501.

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4

Vickery, Lindsay. "The Western Edge: some recent electronic music from Western Australia". Organised Sound 6, n.º 1 (abril de 2001): 69–74. http://dx.doi.org/10.1017/s1355771801001108.

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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).

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5

Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL". Scientific Journal of Polonia University 43, n.º 6 (18 de junio de 2021): 9–15. http://dx.doi.org/10.23856/4301.

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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.

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6

Vágnerová, Lucie. "‘Nimble Fingers’ in Electronic Music: Rethinking sound through neo-colonial labour". Organised Sound 22, n.º 2 (12 de julio de 2017): 250–58. http://dx.doi.org/10.1017/s1355771817000152.

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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.

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7

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN". Imaji 17, n.º 1 (27 de junio de 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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8

Heuguet, Guillaume. "Electronic music history reloaded: Ishkur’s online “Guide to electronic music 3.0”". Sound Studies 6, n.º 2 (2 de julio de 2020): 275–79. http://dx.doi.org/10.1080/20551940.2020.1794332.

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9

Mazierska, Ewa. "Improvisation in Electronic Music—The Case of Vienna Electronica". Open Cultural Studies 2, n.º 1 (1 de diciembre de 2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

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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.

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10

Hammer, Ernest Lee y Peter Manning. "Electronic and Computer Music". Computer Music Journal 12, n.º 2 (1988): 54. http://dx.doi.org/10.2307/3679942.

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11

Lehrman, Paul D. y Thomas B. Holmes. "Electronic and Experimental Music". Computer Music Journal 10, n.º 3 (1986): 93. http://dx.doi.org/10.2307/3680269.

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12

Mallinckrodt, A. John y Peter Manning. "Electronic and Computer Music". Leonardo 21, n.º 2 (1988): 210. http://dx.doi.org/10.2307/1578564.

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13

Rothstein, Joseph. "Pioneers of Electronic Music". American Music 12, n.º 1 (1994): 118. http://dx.doi.org/10.2307/3052502.

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14

Verma, Sourav. "Significance of electronic music". International Journal of Applied Research 7, n.º 1 (1 de enero de 2021): 97–99. http://dx.doi.org/10.22271/allresearch.2021.v7.i1b.8159.

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15

Poissant, Louise. "Part III: Electronic Music". Leonardo 34, n.º 3 (junio de 2001): 261–64. http://dx.doi.org/10.1162/002409401750287047.

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16

CHADABE, JOEL. "Electronic music and life". Organised Sound 9, n.º 1 (abril de 2004): 3–6. http://dx.doi.org/10.1017/s1355771804000020.

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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.

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17

CHADABE, JOEL. "The Electronic Music Foundation". Organised Sound 2, n.º 1 (abril de 1997): 25–27. http://dx.doi.org/10.1017/s135577189700006x.

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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

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18

Behague, Gerard, Alcides Lanza y Meg Sheppard. "Instrumental & Electronic Music". Latin American Music Review / Revista de Música Latinoamericana 18, n.º 2 (1997): 337. http://dx.doi.org/10.2307/780404.

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19

Kretschmer, Martin, George Michael Klimis y Roger Wallis. "Music in Electronic Markets". New Media & Society 3, n.º 4 (diciembre de 2001): 417–41. http://dx.doi.org/10.1177/14614440122226164.

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20

Segan, Marc Howard. "Electronic acoustic music engine". Journal of the Acoustical Society of America 119, n.º 4 (2006): 1910. http://dx.doi.org/10.1121/1.2195812.

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21

Mau, Heidi y Cheryl L. Nicholas. "“Authenticity” in Popular Electronic Music". Journal of Popular Music Studies 32, n.º 1 (1 de marzo de 2020): 106–22. http://dx.doi.org/10.1525/jpms.2020.32.1.106.

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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.

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22

Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system". Organised Sound 25, n.º 1 (4 de marzo de 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

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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.

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23

Haworth, Christopher. "‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica". Organised Sound 21, n.º 1 (3 de marzo de 2016): 15–29. http://dx.doi.org/10.1017/s1355771815000345.

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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.

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24

Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review". Journal of Ethnic and Cultural Studies 6, n.º 3 (18 de diciembre de 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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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.

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25

Ardiyanto, Yoga, Elizar Elizar y Ediwar Ediwar. "“Five Of Quin” Eksplorasi Nada Pada Pola Ritme Pengantar Lagu Randai Kuantan Di Kabupaten Kuantan Singingi Provinsi Riau". Jurnal Musik Etnik Nusantara 1, n.º 1 (1 de julio de 2021): 57. http://dx.doi.org/10.26887/jmen.v1i1.2014.

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Five Of Quin” ini adalah sebuah karya komposisi musik yang terinspirasi dari pola ritme pengantar lagu musik Randai Kuantan Kabupaten Kuantan Singingi, Provinsi Riau. Pengkarya melakukan analisa dan eksplorasi nada dari pola Tersebut sehingga menghasilkan sebuah interval nada baru yaitu A,B,Cis,E,Fis, dan nterval nada baru inilah yang menjadi fokus pengkarya Dalam penggarapan karya ini. Tujuan dari pembuatan karya ini adalah Untuk Melakukan sebuah inovasi (pembaruan) yang berawal dari sebuah Kesenian tradisional di berbagai aspek garap kedalam sebuah komposisi musik yang sesuai dengan konsep yang ditawarkan. Dalam penciptaannya, Pengkarya menggunakan beberapa metode penciptaan, yaitu Observasi, Eksplorasi, Diskusi, Kerja Studio, dan Perwujudan. Komposisi musik ini digarap dengan menggunakan pendekatan popular dengan genre EDM (Electronic Dance Music) dan subgenre house music. Kata Kunci: house music; EDM; five of quin; quin, five ABSTRACT"Five Of Quin" is a music composition works that was inspired by the rhythm pattern of the introduction to the Randai Kuantan music song, Kuantan Singingi Regency, Riau Province. The artist analyzes and explores the tone of the pattern so as to produce a new tone interval, namely A, B, Cis, E, Fis, and it is this new tone interval that is the focus of the author in the making of this work. the purpose of making this work is to carry out an innovation (update) that starts from a traditional art in various aspects of working into a musical composition that is in accordance with the concept offered. In its creation, the creator uses several methods of creation, namely Observation, Exploration, Discussion, Studio Work, and Embodiment. This musical composition was composed using a popular approach with the EDM (Electronic Dance Music) genre and house music subgenre.Keywords: house music; EDM; five of quin; quin; five

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Shi, X. J., Y. Y. Cai y C. W. Chan. "Electronic Music for Bio-Molecules Using Short Music Phrases". Leonardo 40, n.º 2 (abril de 2007): 137–41. http://dx.doi.org/10.1162/leon.2007.40.2.137.

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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.

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27

Hagan, Kerry L. "The Intersection of ‘Live’ and ‘Real-time’". Organised Sound 21, n.º 2 (30 de junio de 2016): 138–46. http://dx.doi.org/10.1017/s1355771816000066.

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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.

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28

Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)". Organised Sound 13, n.º 3 (3 de noviembre de 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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29

Puckette, Miller. "Four surprises of electronic music". Lumina 11, n.º 2 (30 de agosto de 2017): 126–38. http://dx.doi.org/10.34019/1981-4070.2017.v11.21445.

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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.

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30

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

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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.

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31

Jackson, Randolph N. "The Future of Electronic Music". Computer Music Journal 13, n.º 1 (1989): 10. http://dx.doi.org/10.2307/3679850.

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32

Vantomme, Jason D. y Joe McMahon. "Electronic Resources for Computer Music". Computer Music Journal 18, n.º 4 (1994): 8. http://dx.doi.org/10.2307/3681350.

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33

Gligo, Niksa y Simon Emmerson. "Music, Electronic Media and Culture". International Review of the Aesthetics and Sociology of Music 33, n.º 2 (diciembre de 2002): 207. http://dx.doi.org/10.2307/4149780.

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34

Chadabe, Joel. "Preserving Performances of Electronic Music". Journal of New Music Research 30, n.º 4 (1 de diciembre de 2001): 303–5. http://dx.doi.org/10.1076/jnmr.30.4.303.7485.

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35

Terrio, Robert D. "Electronic and Computer Music (review)". Notes 61, n.º 3 (2005): 746–49. http://dx.doi.org/10.1353/not.2005.0037.

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36

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

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

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38

Bijsterveld, Karin. "Electronic and Computer Music (review)". Technology and Culture 46, n.º 4 (2005): 867–68. http://dx.doi.org/10.1353/tech.2006.0003.

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39

Richards, John. "Editorial: Re-wiring Electronic Music". Organised Sound 18, n.º 3 (12 de noviembre de 2013): 240–41. http://dx.doi.org/10.1017/s1355771813000204.

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Richards, John. "Beyond DIY in Electronic Music". Organised Sound 18, n.º 3 (12 de noviembre de 2013): 274–81. http://dx.doi.org/10.1017/s1355771813000241.

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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?’

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41

Wilson, Daniel R. "Failed Histories of Electronic Music". Organised Sound 22, n.º 2 (12 de julio de 2017): 150–60. http://dx.doi.org/10.1017/s1355771817000061.

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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.

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42

Mayuzumi, Toshiro y Cathy L. Cox. "Electronic Music 7 Variations (1957)". Contemporary Music Review 37, n.º 1-2 (4 de marzo de 2018): 121–25. http://dx.doi.org/10.1080/07494467.2018.1453345.

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43

Bennett, Bruce. "Eighth Electronic Music Midwest Festival". Computer Music Journal 31, n.º 2 (junio de 2007): 73–74. http://dx.doi.org/10.1162/comj.2007.31.2.73.

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44

Schedel, Margaret. "Simon Emmerson: Living Electronic Music". Computer Music Journal 32, n.º 4 (diciembre de 2008): 83–84. http://dx.doi.org/10.1162/comj.2008.32.4.83.

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45

Harley, James. "Henk Badings: More Electronic Music". Computer Music Journal 35, n.º 1 (marzo de 2011): 111–12. http://dx.doi.org/10.1162/comj_r_00046.

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46

Collins, Nick. "Corposing a History of Electronic Music". Leonardo Music Journal 27 (diciembre de 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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47

Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music". Studia Universitatis Babeș-Bolyai Philosophia 67, n.º 1 (5 de abril de 2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

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"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 "

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48

Rovner, Anton A. "Electronic Music in St. Petersburg: An Overview. Interview with Composer Alexander Kharkovsky". Problemy Muzykal'noj Nauki / Music Scholarship, n.º 4 (2022): 96–109. http://dx.doi.org/10.56620/2782-3598.2022.4.096-109.

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In his interview the St. Petersburg-based composer Alexander Kharkovsky, a specialist in electronic music and an organizer of electronic music concerts, tells about his own musical compositions, and also presents the history of the formation and the development of electronic music in St. Petersburg, starting from the 1970s. He describes the musical compositions and the artistic paths of the primary pioneers of electronic music in St. Petersburg, such as Sergei Belimov and Anatoly Korolyov, recounts about the musical compositions and musical activities of younger electronic composers, such as Sofia Levkovskaya, Svetlana Lavrova and others, and also tells about his participation in various events devoted to contemporary music, including electronic music, such as the festival From the Avant-Garde to the Present Day, the activities of the PRO ARTE Institute and the eNsemble contemporary music ensemble, the lectures of Moscow-based electronic music specialist Andrei Smirnov. All of this presents a lively picture of the contemporary music scene in St. Petersburg in the late 20th and early 21st century.

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49

Hodak, Danijela Ferjanić, Goran Belošević y Antonio Vlahov. "Towards better understanding electronic music festivals motivation". Zagreb International Review of Economics and Business 23, n.º 2 (1 de noviembre de 2020): 141–54. http://dx.doi.org/10.2478/zireb-2020-0018.

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AbstractElectronic music festivals became one of the most successful forms of tourism for young adults. In the paper, authors aimed to explored the motivation and the perception of the potential visitors of electronic music festivals in Croatia and to identify the key dimensions of electronic music festivals. Instrument used for the primary research was a structured on-line questionnaire distributed among students of the University of Zagreb. In total, 350 questionnaires were collected and analyzed. Factor analyses resulted with three factors concerning motivation (music and fun, travel, socialization). Motives with the highest mean value are closely related with the core of electronic music festival offer, but other motives should not be neglected. Paper provides several recommendations for the improvement of electronic music festival offer and suggest the direction and possibilities for the future research.

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50

Guo, Ting. "Evaluation of the Emotion Model in Electronic Music Based on PSO-BP". Computational Intelligence and Neuroscience 2022 (30 de mayo de 2022): 1–9. http://dx.doi.org/10.1155/2022/5601689.

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Electronic music can help people alleviate the pressure in life and work. It is a way to express people’s emotional needs. With the increase of the types and quantity of electronic music, the traditional electronic music classification and emotional analysis cannot meet people’s more and more detailed emotional needs. Therefore, this study proposes the emotion analysis of electronic music based on the PSO-BP neural network and data analysis, optimizes the BP neural network through the PSO algorithm, and extracts and analyzes the emotional characteristics of electronic music combined with data analysis. The experimental results show that compared with BP neural network, PSO-BP neural network has a faster convergence speed and better optimal individual fitness value and can provide more stable operating conditions for later training and testing. The electronic music emotion analysis model based on PSO-BP neural network can reduce the error rate of electronic music lyrics text emotion classification and identify and analyze electronic music emotion with high accuracy, which is closer to the actual results and meets the expected requirements.

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