UID:
almafu_9959696089002883
Umfang:
1 online resource (xxiv, 330 pages) :
,
digital, PDF file(s).
Ausgabe:
First edition.
ISBN:
1-108-54737-0
,
1-108-54847-4
,
1-316-45987-X
Serie:
Cambridge companions to music
Inhalt:
Musicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The first edition of this book won the 2009 Nicolas Bessaraboff Prize as it brought together researchers at the forefront of the sonic explorations empowered by electronic technology to provide accessible and insightful overviews of core topics and uncover some hitherto less publicised corners of worldwide movements. This updated and expanded second edition includes four entirely new chapters, as well as new original statements from globally renowned artists of the electronic music scene, and celebrates a diverse array of technologies, practices and music.
Anmerkung:
Title from publisher's bibliographic system (viewed on 27 Nov 2017).
,
Cover -- Half-title -- Series information -- Title page -- Copyright information -- Table of contents -- List of figures -- List of contributors -- Acknowledgments -- Chronology -- Introduction -- Postscript: Second Edition -- Notes -- Further reading -- 1 The Origins of Electronic Music -- Classical Visions -- Automata -- The Literary Imagination -- Sound Recording -- Early 'Electronic' Music -- Sound in Art -- Electronic Music -- Notes -- 2 Electronic Music and the Studio -- History -- Technology and Aesthetics -- Accessibility: Cost, Size and Speed -- Studios -- Community -- Personal Performance -- Conclusion -- Notes -- 3 Live Electronic Music -- Pre-History -- John Cage -- Sonic Arts Union -- Living with Tape -- Composing Inside Electronics -- The Rise of the Computer -- Working in the Real World -- Circuit Bending -- The Future Present -- Notes -- Further reading -- 4 A History of Programming and Music -- Early Eras: Before Computers -- The Computer Age (Part I): Early Languages and the Rise of MUSIC-N -- Music I (and II, III,…) -- The CARL System (or 'UNIX for Music') -- Cmix, CLM and Csound -- The Computer Age (Part II): Realtime Systems -- Graphical Music Programming: Max/MSP and Pure Data -- Programming Libraries for Sound Synthesis -- SuperCollider: the Synthesis Language Redefined -- Graphical Versus Text-Based Approaches -- The Computer Age (Part III): New Language Explorations -- ChucK: a Strongly Timed and on-the-fly Programming Language -- Custom Music Programming Software -- Future Directions -- Notes -- Artists' statements I -- Laurie Spiegel -- Yasunao Tone -- The Origin of the 'Wounded Man'yo-shu' Pieces -- John Oswald -- Mathias Gmachl (Farmers Manual) -- Erdem Helvacioglu -- Pauline Oliveros -- Chris Jeffs -- Rodrigo Sigal -- Mira Calix -- Seong-Ah Shin -- Carsten Nicolai A.K.A. Noto/Alva Noto -- Warren Burt.
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Contradictory Thoughts on Electronic Music -- Max Mathews -- The Past and Future of Computer Music -- 5 Interactivity and Live Computer Music -- The Computer as a Sound-Producing Device -- Interaction -- First Steps in Interactive Computer Music -- Interactive Music: the Computer as a Semi-Autonomous Device -- Live Computer Music: What Can Be Done? -- Gestural Controllers -- The Future of Digital Musical Instruments? -- Interfaces for Multithreaded and Shared Control -- Control, Virtuosity, Intimacy and Expressiveness -- Notes -- Selected discography -- 6 Algorithmic Composition -- Algorithm -- History -- Pioneers -- Serialism -- Stochastic Music -- Field Composition/Aleatoric Composition -- Chance -- Generative Music -- Realtime -- Conclusion -- Notes -- 7 Live Audiovisuals -- Colour Organs and Visual Music -- Light Shows -- From Analogue Video Synthesisers to Software -- Approaches to Contemporary Audiovisual Performance -- The Psychology and Analysis of AV -- Conclusions -- Notes -- 8 Network Music -- Sound Transfer -- Opacity and Transparency -- Protocols and Relations -- Formalism and Information -- The Other -- Topology -- Letters and Tandems -- Conclusion -- Notes -- 9 Electronic Music and the Moving Image -- 'Film Music Scoring' Versus 'Sound Design' -- Electronic Music and Film -- Disembodied Electronica in Film -- Instrumental Electronica in Films -- Electronic Music on TV -- Electronic Music and Games -- Future Media? -- Notes -- Artists' Statements II -- Kevin Saunderson -- Kanta Horio -- Donna Hewitt -- Alejandro Viñao -- The Future of Technology in Music -- Bubblyfish -- Barry Truax -- Lukas Ligeti (Burkina Electric) -- Christina Kubisch -- The Relationship with Technology -- Murat Ertel -- Adina Izarra -- Cybork - Moscow Laptop Cyber Orchestra -- Francis Dhomont -- For Classicism -- David Behrman -- Kevin Blechdom (Kristin Erickson).
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Karlheinz Stockhausen -- George E. Lewis -- On Creative Machines -- 10 Computer Generation and Manipulation of Sounds -- The Early Days -- Granular Manipulation of Sounds -- Sound Modelling -- Spectral Modelling -- Physical Modelling -- The Present and the Future -- Notes -- 11 Trends in Electroacoustic Music -- Where Are We Today? -- Sound for our Ears: the Conception of Acousmatic Music -- Schaeffer and his Closer Relations -- Solfège of the Sound Object -- The Development of Schaeffer's Theories and Spectromorphology -- Tape Techniques and Repetition -- Streaming Effects and Emergent Information -- Voice and Language in an Acousmatic World -- Working in the Extremes of Sound: From Sine Tone to Noise -- Space -- Space and Composition -- Sound Diffusion: The Final Stage of Composition? -- Microsound -- Stochastic, Algorithmic and Numerical Control of Sound -- Connecting to the Environment -- Soundscape Composition -- Landscape, the Transformation of Sound Images and Metaphor -- Expansion from an Instrumental Aesthetic -- Discussion -- Notes -- Discography: works cited -- Discography: supplementary listening -- 12 Electronic Sound Art and Aesthetic Experience -- Noisemakers/Instruments/Sound Sculptures -- Sound Installation as Sound Only -- Sound Installation as Sound with Visual Component -- Sound Walks -- Transmission Art (Using Sound) -- Notes -- 13 DIY and Maker Communities in Electronic Music -- Precedents in Maker Music -- Music of Objects and Things -- Sound Materials -- Schemas as Scores -- Sticks and String and Reductionism -- Conclusion -- Notes -- 14 Extending the Instrumental Sound World Using Electronics -- Introduction -- Pioneers -- Rethinking Interaction -- Spectral Mutations -- Sampling -- Current Trends -- Conclusion -- Notes -- 15 The Analysis of Electronic Music -- Introduction -- An Ontology of Electronic Music.
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Repertoire and Methodologies -- In Closing -- Note -- Further Reading -- Artists' Statements III -- Éliane Radigue -- Daniel Miller -- Ikue Mori -- Chris Carter and Cosey Fanni Tutti -- Holly Herndon -- Vince Clarke -- Ralf Hütter -- Hasnizam Abdul Wahid -- Elsa Justel -- The Acousmatic Versus the World Wide Web -- Beatriz Ferreyra -- Does Acousmatic Music Have a Future? -- References -- Index.
Weitere Ausg.:
ISBN 1-107-59002-7
Weitere Ausg.:
ISBN 1-107-13355-6
Sprache:
Englisch
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