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Live electronic music

Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry.[1] Real-time generation and manipulation of audio using live coding is now commonplace.

History edit

1800s–1940s edit

Early electronic instruments edit

 
This Telharmonium console (likely pictured in the late 1890s) is an early electronic organ by Thaddeus Cahill, and one of the first electronic instruments used for live performance.

Early electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and the Trautonium (1929), may be cited as antecedents,[2] but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.[3]

Many early compositions included these electronic instruments, though the instruments were typically used as fill-ins for standard classical instruments. An example includes composer Joseph Schillinger, who in 1929 composed First Airphonic Suite for Theremin and Orchestra, which premièred with the Cleveland Orchestra with Leon Theremin as soloist.[citation needed] Percy Grainger, used ensembles of four or six theremins (in preference to a string quartet) for his two earliest experimental Free Music compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.([4][5] The ondes Martenot was also used as a featured instrument in the 1930s, and composer Olivier Messiaen used it in the Fête des belles eaux for six ondes, written for the 1937 International World's Fair in Paris.[6]

Cage's Imaginary Landscape No. 1 (1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings.[7] Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.[2]

1950s–1960s edit

 
Stockhausen (2 September 1972 at the Shiraz Arts Festival, at the sound controls for the live-electronic work Mantra), who wrote a number of notable electronic compositions in the 1960s and 1970s in which amplification, filtering, tape delay, and spatialization was added to live instrumental performance

In Europe, Pierre Schaeffer had attempted live generation of the final stages of his works at the first public concert of musique concrète in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred. Mauricio Kagel's Transición II (1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964 Karlheinz Stockhausen entered on a period of intensive work with live electronics with three works, Mikrophonie I and Mixtur (both 1964), and Mikrophonie II.[8] While earlier live-electronic compositions, such as Cage's Cartridge Music (1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.[9]

During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of live music, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance.[1] By the 1970s, live electronics had become the primary area of innovation in electronic music.[10]

1970s–1980s edit

The 1970s and 1980s were notable for contributions by electronic musician Jean-Michel Jarre. The success of Oxygene and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.[11][12][13]) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's Oxygene in Moscow.[14]

1990s edit

Laptronica edit

 
Farmers Manual 2002, performing laptronica

Laptronica is a form of live electronic music or computer music in which laptops are used as musical instruments. The term is a portmanteau of "laptop computer" and "electronica". The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form, and therefore in live performance. Many sophisticated forms of sound production, manipulation and organization (which had hitherto only been available in studios or academic institutions) became available to use in live performance, largely by younger musicians influenced by and interested in developing experimental popular music forms.[15] A combination of many laptops can be used to form a laptop orchestra.

Live coding edit

Live coding example using Impromptu

Live coding[16] (sometimes referred to as 'on-the-fly programming',[17] 'just in time programming') is a programming practice centred upon the use of improvised interactive programming. Live coding is often used to create sound and image based digital media, and is particularly prevalent in computer music, combining algorithmic composition with improvisation,[18] Typically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.[19] There are also approaches to human live coding in improvised dance.[20] Live coding techniques are also employed outside of performance, such as in producing sound for film[21] or audio/visual work for interactive art installations.[22]

Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by Mark Guzdial.[23]

Electroacoustic improvisation edit

 
Keith Rowe (pictured in 2008) improvising with prepared guitar at a music festival in Tokyo

Electroacoustic improvisation (EAI) is a form of free improvisation that was originally referred to as live electronics. It has been part of the sound art world since the 1930s with the early works of John Cage,[24][25]) Source magazine published articles by a number of leading electronic and avant-garde composers in the 1960s.[26]

It was further influenced by electronic and electroacoustic music and the music of American experimental composers such as John Cage, Morton Feldman and David Tudor. British free improvisation group AMM, particularly their guitarist Keith Rowe, have also played a contributing role in bringing attention to the practice.[27]

Notable works 1930s–1960s edit

The following is an incomplete list, in chronological order, of early notable electronic compositions:

See also edit

References edit

Notes edit

Sources edit

  • Anon. (2009). "Tech Know: Programming, Meet Music". BBC News. 2009-08-28. Retrieved 2010-03-25.
  • Anon. (n.d.(a)). "Source: Music of the Avant-Garde (list of issues with Notes "from Deep Listening's website"). UbuWeb: Sound (Accessed 2 May 2013).
  • Anon. (n.d.(b)). "Communion by Universal Everything and Field.io: interview". 24 May 2011. Retrieved 5 February 2013.
  • Anon. (n.d.(d)). "Concerts with Record Attendance". Noise Addicts blog (accessed 2 March 2018).
  • Anon. (n.d.(e)). "Jean Michel Jarre". Famouscomposers.net (accessed 7 March 2019).
  • Cacciottolo, Mario (2008). "Jarre Breathes Again with Oxygene". BBC News (accessed 6 October 2015).
  • Cage, John (1960).Imaginary Landscape No. 1: for Records of Constant and Variable Frequency, Large Chinese Cymbal and String Piano. S.l.: Henmar Press; New York: Sole Selling Agents, C. F. Peters.
  • Collins, Nick (2003) "", Contemporary Music Review 22, no. 4:67–79.
  • Collins, Nick (2007). "Live Electronic Music." In The Cambridge Companion to Electronic Music, edited by Nick Collins and Julio d’Escriván, pp. 38–54. Cambridge Companions to Music. Cambridge: Cambridge University Press. ISBN 978-0-521-68865-9; ISBN 978-0-521-86861-7.
  • Collins, Nick, Alex McLean, Julian Rohrhuber, and Adrian Ward (2003), "", Organised Sound 8, no. 3: 321–330. doi:10.1017/S135577180300030X. (Archive from 17 June 2018, accessed 14 April 2020)
  • Emmerson, Simon (2007). Living Electronic Music. Aldershot, Hants.: Ashgate.
  • Eyles, John (2006). "Extended Analysis: 4g: Cloud". AllAboutJazz.com (21 June) (Accessed 2 May 2013).
  • Everitt, Matt (2015). "The First Time with … Jean Michel Jarre". BBC Radio 6 (Sunday 4 October; accessed 2 March 2018).
  • Gillies, Malcolm, and David Pear. (n.d.). "Grainger, Percy". In Grove Music Online. Oxford Music Online. Retrieved 2011-09-21.(subscription required).
  • Guzdial, Mark (2011). "What Students Get Wrong When Building Computational Physics Models in Python: Cabellero Thesis Part 2". Retrieved 5 February 2013.
  • Hill, Peter, and Nigel Simeone (2005). Messiaen. New Haven and London: Yale University Press. ISBN 978-0-300-10907-8.
  • Lewis, Thomas P. (1991). A Source Guide to the Music of Percy Grainger. White Plains: Pro-Am Music Resources. ISBN 978-0-912483-56-6. Retrieved 2011-09-21.
  • McLean, Alex, Dave Griffiths, Nick Collins, and Geraint Wiggins (2010). "Visualisation of Live Code". In Electronic Visualisation and the Arts London 2010, edited by[full citation needed]. PDF version (Accessed 8 May 2014).
  • Manning, Peter (2013). Electronic and Computer Music, fourth edition. Oxford and New York: Oxford University Press. ISBN 978-0-19-974639-2.
  • Rohrhuber, Julian (2008). (PDF). Springer Berlin Heidelberg. Archived from the original (PDF) on 2011-08-11. Retrieved 2013-05-16.
  • Schrader, Barry (1991). "Live/Electro-Acoustic Music: A Perspective from History and California," in Live Electronics, edited by Peter Nelson, Stephen Montague, and Gary Montague,[page needed]. CRC Press. ISBN 3-7186-5116-5.
  • Siegel, Jeff (22 June 2006). . Stylus Magazine. Archived from the original on 2012-09-19.
  • Simms, Brian R. (1986). Music of the Twentieth Century: Style and Structure. New York: Schirmer Books; London: Collier Macmillan Publishers. ISBN 0-02-872580-8.
  • Sutherland, Roger (1994). New Perspectives in Music. London: Sun Tavern Fields. ISBN 0-9517012-6-6.
  • Toop, Richard (2002). "Karlheinz Stockhausen". In Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, edited by Larry Sitsky, 493–499. Westport, Connecticut: Greenwood Press. ISBN 0-313-29689-8.
  • Wang, Ge, and Perry R. Cook (June 2004) "On-the-fly Programming: Using Code as an Expressive Musical Instrument". In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME), pp. 138–143, Michael J. Lyons (ed), Yoichi Nagashima (chair), New York: NIME.

Further reading edit

  • Altena, Arie (2006). "Jeff Carey / Jozef van Wissem, Tetuzi Akiyama / Martin Siewert: Three Sets of Strings & Electronics in Different Combinations". DNK Amsterdam: Concert Series for New Live Electronic and Acoustic Music in Amsterdam (press release, 27 November; Accessed 2 May 2013).
  • Andraschke, Peter (2001). "Dichtung in Musik: Stockhausen, Trakl, Holliger." In Stimme und Wort in der Musik des 20. Jahrhunderts, edited by Hartmut Krones, 341–355. Vienna: Böhlau. ISBN 978-3-205-99387-2.
  • Anon. (n.d.(c)). "What Is a 'Live P.A.'?" Livepa.org (accessed 5 March 2015).
  • Bernal, Alberto, and João Miguel Pais (2008). "Endphase: Origin and Analysis of an Ongoing Project." eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in Electroacoustics (October). Montréal: CEC.
  • Burns, Christopher (2002). "Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electronic Music." Journal of New Music Research 31, no. 1 (March): 59–68.
  • Cox, Christoph (2002). "The Jerrybuilt Future: The Sonic Arts Union, Once Group and MEV’s Live Electronics." In Undercurrents: The Hidden Wiring of Modern Music, edited by Rob Young, pp. 35–44. London: Continuum. ISBN 978-0-8264-6450-7.
  • Davies, Hugh (2001). "Gentle Fire: An Early Approach to Live Electronic Music." Leonardo Music Journal 11 ("Not Necessarily ‘English Music’: Britain's Second Golden Age"): 53–60.
  • Giomi, Francesco, Damiano Meacci, and Kilian Schwoon (2003). "Live Electronics in Luciano Berio’s Music." Computer Music Journal 27, no. 2 (Summer): 30–46.
  • Jensenius, Alexander Refsum; Michael Lyons, eds. (2017). A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. Springer. ISBN 978-3-319-47214-0.
  • Lindborg, PerMagnus (2008). "Reflections on Aspects of Music Interactivity in Performance Situations." eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in Electroacoustics (October). Montréal:CEC.
  • Marley, Brian, and Mark Wastell (eds.) (2006). Blocks of Consciousness and the Unbroken Continuum [Book + DVD]. London: Sound 323. ISBN 978-0-9551541-0-2.
  • Neal, Adam Scott (2009). "A Continuum of Indeterminacy in Laptop Music." eContact! 11.4 – Toronto Electroacoustic Symposium 2009 (TES) / Symposium Électroacoustique 2009 de Toronto (December). Montréal: CEC.
  • Nowitz, Alex (2008). "Voice and Live-Electronics using Remotes as Gestural Controllers." eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in Electroacoustics (October). Montréal: CEC.
  • Oxford University Press (2015). "". Oxford English Dictionary Online(retrieved 30 August 2014).
  • Stroppa, Marco (1999). "Live Electronics or … Live Music? Towards a Critique of Interaction." Contemporary Music Review 18, no. 3 ("Aesthetics of Live Electronic Music"): 41–77.

live, electronic, music, also, known, live, electronics, form, music, that, include, traditional, electronic, sound, generating, devices, modified, electric, musical, instruments, hacked, sound, generating, technologies, computers, initially, practice, develop. Live electronic music also known as live electronics is a form of music that can include traditional electronic sound generating devices modified electric musical instruments hacked sound generating technologies and computers Initially the practice developed in reaction to sound based composition for fixed media such as musique concrete electronic music and early computer music Musical improvisation often plays a large role in the performance of this music The timbres of various sounds may be transformed extensively using devices such as amplifiers filters ring modulators and other forms of circuitry 1 Real time generation and manipulation of audio using live coding is now commonplace Contents 1 History 1 1 1800s 1940s 1 1 1 Early electronic instruments 1 2 1950s 1960s 1 3 1970s 1980s 1 4 1990s 1 4 1 Laptronica 1 4 2 Live coding 1 4 3 Electroacoustic improvisation 2 Notable works 1930s 1960s 3 See also 4 References 4 1 Notes 4 2 Sources 5 Further readingHistory edit1800s 1940s edit Early electronic instruments edit nbsp This Telharmonium console likely pictured in the late 1890s is an early electronic organ by Thaddeus Cahill and one of the first electronic instruments used for live performance Early electronic instruments intended for live performance such as Thaddeus Cahill s Telharmonium 1897 and instruments developed between the two world wars such as the Theremin 1919 Spharophon 1924 ondes Martenot 1928 and the Trautonium 1929 may be cited as antecedents 2 but were intended simply as new means of sound production and did nothing to change the nature of musical composition or performance 3 Many early compositions included these electronic instruments though the instruments were typically used as fill ins for standard classical instruments An example includes composer Joseph Schillinger who in 1929 composed First Airphonic Suite for Theremin and Orchestra which premiered with the Cleveland Orchestra with Leon Theremin as soloist citation needed Percy Grainger used ensembles of four or six theremins in preference to a string quartet for his two earliest experimental Free Music compositions 1935 37 because of the instrument s complete gliding freedom of pitch 4 5 The ondes Martenot was also used as a featured instrument in the 1930s and composer Olivier Messiaen used it in the Fete des belles eaux for six ondes written for the 1937 International World s Fair in Paris 6 Cage s Imaginary Landscape No 1 1939 was among the earliest compositions to include an innovative use of live electronic material it featured two variable speed phonograph turntables and sine tone recordings 7 Cage s interest in live electronics continued through the 1940s and 1950s providing inspiration for the formation of a number of live electronic groups in America who came to regard themselves as the pioneers of a new art form 2 1950s 1960s edit nbsp Stockhausen 2 September 1972 at the Shiraz Arts Festival at the sound controls for the live electronic work Mantra who wrote a number of notable electronic compositions in the 1960s and 1970s in which amplification filtering tape delay and spatialization was added to live instrumental performanceIn Europe Pierre Schaeffer had attempted live generation of the final stages of his works at the first public concert of musique concrete in 1951 with limited success However it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred Mauricio Kagel s Transicion II 1959 combined two tape recorders for live manipulation of the sounds of piano and percussion and beginning in 1964 Karlheinz Stockhausen entered on a period of intensive work with live electronics with three works Mikrophonie I and Mixtur both 1964 and Mikrophonie II 8 While earlier live electronic compositions such as Cage s Cartridge Music 1960 had mainly employed amplification Stockhausen s innovation was to add electronic transformation through filtering which erased the distinction between instrumental and electronic music 9 During the 1960s a number of composers believed studio based composition such as musique concrete lacked elements that were central to the creation of live music such as spontaneity dialogue discovery and group interaction Many composers viewed the development of live electronics as a reaction against the largely technocratic and rationalistic ethos of studio processed tape music which was devoid of the visual and theatrical component of live performance 1 By the 1970s live electronics had become the primary area of innovation in electronic music 10 1970s 1980s edit The 1970s and 1980s were notable for contributions by electronic musician Jean Michel Jarre The success of Oxygene and his large scale concerts which he performed attracted millions of people breaking his own record for largest audience four times 11 12 13 In fact Jarre continued to break his own records up to the end of the century with 3 5 million people attending 1997 s Oxygene in Moscow 14 1990s edit Laptronica edit See also Laptop battle nbsp Farmers Manual 2002 performing laptronicaLaptronica is a form of live electronic music or computer music in which laptops are used as musical instruments The term is a portmanteau of laptop computer and electronica The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form and therefore in live performance Many sophisticated forms of sound production manipulation and organization which had hitherto only been available in studios or academic institutions became available to use in live performance largely by younger musicians influenced by and interested in developing experimental popular music forms 15 A combination of many laptops can be used to form a laptop orchestra Live coding edit Main article Live coding See also Algorave source source source source source source Live coding example using ImpromptuLive coding 16 sometimes referred to as on the fly programming 17 just in time programming is a programming practice centred upon the use of improvised interactive programming Live coding is often used to create sound and image based digital media and is particularly prevalent in computer music combining algorithmic composition with improvisation 18 Typically the process of writing is made visible by projecting the computer screen in the audience space with ways of visualising the code an area of active research 19 There are also approaches to human live coding in improvised dance 20 Live coding techniques are also employed outside of performance such as in producing sound for film 21 or audio visual work for interactive art installations 22 Live coding is also an increasingly popular technique in programming related lectures and conference presentations and has been described as a best practice for computer science lectures by Mark Guzdial 23 Electroacoustic improvisation edit nbsp Keith Rowe pictured in 2008 improvising with prepared guitar at a music festival in TokyoElectroacoustic improvisation EAI is a form of free improvisation that was originally referred to as live electronics It has been part of the sound art world since the 1930s with the early works of John Cage 24 25 Source magazine published articles by a number of leading electronic and avant garde composers in the 1960s 26 It was further influenced by electronic and electroacoustic music and the music of American experimental composers such as John Cage Morton Feldman and David Tudor British free improvisation group AMM particularly their guitarist Keith Rowe have also played a contributing role in bringing attention to the practice 27 Notable works 1930s 1960s editSee also Category Electronic musicians The following is an incomplete list in chronological order of early notable electronic compositions John Cage Imaginary Landscape 1939 1952 John Cage Cartridge Music 1960 Robert Ashley Wolfman 1964 Lecture Series 1965 Purposeful Lady Slow Afternoon 1968 Karlheinz Stockhausen Mikrophonie I amp II 1964 and 1965 Mixtur 1964 Solo 1966 Prozession 1967 Kurzwellen 1968 Spiral 1968 Alvin Lucier Music for Solo Performer 1965 North American Time Capsule 1967 Vespers 1968 Johannes Fritsch Partita 1965 66 for viola contact microphones tape recorder filters and potentiometers 4 players Modulation 2 1967 for 13 instruments and live electronics Akroasis 1966 68 for large orchestra with jazz band two singers live electronics hurdy gurdy music box and newsreader David Behrman Wave Train 1967 Gordon Mumma Hornpipe 1967 Steve Reich Pendulum Music 1968 Max Neuhaus Drive in Music 1968 Larry Austin Accidents 1968 Richard Teitelbaum In Tune 1968 Louis Andriessen Hoe het is 1969 for 52 strings and live electronics Louis Andriessen Reinbert de Leeuw Misha Mengelberg Peter Schat Jan van Vlijmen Reconstructie 1969 Morality opera for soloists 3 mixed choirs orchestra and live electronics George Brown Splurge 1969 Takehisa Kosugi 712 9374 1969 Roger Smalley Transformation I 1969 See also edit nbsp Wikimedia Commons has media related to Electronic music festivals List of electronic music festivals New Interfaces for Musical Expression List of music softwareReferences editNotes edit a b Sutherland 1994 157 a b Manning 2013 157 Collins 2007 39 Gillies and Pear n d Lewis 1991 chapter 4 Program Notes Hill and Simeone 2005 74 75 Collins 2007 38 39 Manning 2013 157 158 Toop 2002 495 Simms 1986 395 Cacciottolo 2008 Anon amp n d d Anon amp n d e Everitt 2015 Emmerson 2007 p page needed Collins McLean Rohrgruber and Ward 2003 page needed Wang and Cook 2004 p page needed Collins 2003 p page needed McLean Griffiths Collins and Wiggins 2010 p page needed Anon 2009 Rohrhuber 2008 60 70 Anon amp n d b Guzdial 2011 Schrader 1991 p page needed Cage 1960 Anon amp n d a Siegel 2006 Sources edit Anon 2009 Tech Know Programming Meet Music BBC News 2009 08 28 Retrieved 2010 03 25 Anon n d a Source Music of the Avant Garde list of issues with Notes from Deep Listening s website UbuWeb Sound Accessed 2 May 2013 Anon n d b Communion by Universal Everything and Field io interview 24 May 2011 Retrieved 5 February 2013 Anon n d d Concerts with Record Attendance Noise Addicts blog accessed 2 March 2018 Anon n d e Jean Michel Jarre Famouscomposers net accessed 7 March 2019 Cacciottolo Mario 2008 Jarre Breathes Again with Oxygene BBC News accessed 6 October 2015 Cage John 1960 Imaginary Landscape No 1 for Records of Constant and Variable Frequency Large Chinese Cymbal and String Piano S l Henmar Press New York Sole Selling Agents C F Peters Collins Nick 2003 Generative Music and Laptop Performance Contemporary Music Review 22 no 4 67 79 Collins Nick 2007 Live Electronic Music In The Cambridge Companion to Electronic Music edited by Nick Collins and Julio d Escrivan pp 38 54 Cambridge Companions to Music Cambridge Cambridge University Press ISBN 978 0 521 68865 9 ISBN 978 0 521 86861 7 Collins Nick Alex McLean Julian Rohrhuber and Adrian Ward 2003 Live Coding in Laptop Performance Organised Sound 8 no 3 321 330 doi 10 1017 S135577180300030X Archive from 17 June 2018 accessed 14 April 2020 Emmerson Simon 2007 Living Electronic Music Aldershot Hants Ashgate Eyles John 2006 Extended Analysis 4g Cloud AllAboutJazz com 21 June Accessed 2 May 2013 Everitt Matt 2015 The First Time with Jean Michel Jarre BBC Radio 6 Sunday 4 October accessed 2 March 2018 Gillies Malcolm and David Pear n d Grainger Percy In Grove Music Online Oxford Music Online Retrieved 2011 09 21 subscription required Guzdial Mark 2011 What Students Get Wrong When Building Computational Physics Models in Python Cabellero Thesis Part 2 Retrieved 5 February 2013 Hill Peter and Nigel Simeone 2005 Messiaen New Haven and London Yale University Press ISBN 978 0 300 10907 8 Lewis Thomas P 1991 A Source Guide to the Music of Percy Grainger White Plains Pro Am Music Resources ISBN 978 0 912483 56 6 Retrieved 2011 09 21 McLean Alex Dave Griffiths Nick Collins and Geraint Wiggins 2010 Visualisation of Live Code In Electronic Visualisation and the Arts London 2010 edited by full citation needed PDF version Accessed 8 May 2014 Manning Peter 2013 Electronic and Computer Music fourth edition Oxford and New York Oxford University Press ISBN 978 0 19 974639 2 Rohrhuber Julian 2008 Artificial Natural Historical in Transdisciplinary Digital Art Sound Vision and the New Screen PDF Springer Berlin Heidelberg Archived from the original PDF on 2011 08 11 Retrieved 2013 05 16 Schrader Barry 1991 Live Electro Acoustic Music A Perspective from History and California in Live Electronics edited by Peter Nelson Stephen Montague and Gary Montague page needed CRC Press ISBN 3 7186 5116 5 Siegel Jeff 22 June 2006 Review of Keith Rowe and Toshimaru Nakamura Between Stylus Magazine Archived from the original on 2012 09 19 Simms Brian R 1986 Music of the Twentieth Century Style and Structure New York Schirmer Books London Collier Macmillan Publishers ISBN 0 02 872580 8 Sutherland Roger 1994 New Perspectives in Music London Sun Tavern Fields ISBN 0 9517012 6 6 Toop Richard 2002 Karlheinz Stockhausen In Music of the Twentieth Century Avant Garde A Biocritical Sourcebook edited by Larry Sitsky 493 499 Westport Connecticut Greenwood Press ISBN 0 313 29689 8 Wang Ge and Perry R Cook June 2004 On the fly Programming Using Code as an Expressive Musical Instrument In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression NIME pp 138 143 Michael J Lyons ed Yoichi Nagashima chair New York NIME Further reading editAltena Arie 2006 Jeff Carey Jozef van Wissem Tetuzi Akiyama Martin Siewert Three Sets of Strings amp Electronics in Different Combinations DNK Amsterdam Concert Series for New Live Electronic and Acoustic Music in Amsterdam press release 27 November Accessed 2 May 2013 Andraschke Peter 2001 Dichtung in Musik Stockhausen Trakl Holliger In Stimme und Wort in der Musik des 20 Jahrhunderts edited by Hartmut Krones 341 355 Vienna Bohlau ISBN 978 3 205 99387 2 Anon n d c What Is a Live P A Livepa org accessed 5 March 2015 Bernal Alberto and Joao Miguel Pais 2008 Endphase Origin and Analysis of an Ongoing Project eContact 10 4 Temps reel improvisation et interactivite en electroacoustique Live electronics Improvisation Interactivity in Electroacoustics October Montreal CEC Burns Christopher 2002 Realizing Lucier and Stockhausen Case Studies in the Performance Practice of Electronic Music Journal of New Music Research 31 no 1 March 59 68 Cox Christoph 2002 The Jerrybuilt Future The Sonic Arts Union Once Group and MEV s Live Electronics In Undercurrents The Hidden Wiring of Modern Music edited by Rob Young pp 35 44 London Continuum ISBN 978 0 8264 6450 7 Davies Hugh 2001 Gentle Fire An Early Approach to Live Electronic Music Leonardo Music Journal 11 Not Necessarily English Music Britain s Second Golden Age 53 60 Giomi Francesco Damiano Meacci and Kilian Schwoon 2003 Live Electronics in Luciano Berio s Music Computer Music Journal 27 no 2 Summer 30 46 Jensenius Alexander Refsum Michael Lyons eds 2017 A NIME Reader Fifteen Years of New Interfaces for Musical Expression Springer ISBN 978 3 319 47214 0 Lindborg PerMagnus 2008 Reflections on Aspects of Music Interactivity in Performance Situations eContact 10 4 Temps reel improvisation et interactivite en electroacoustique Live electronics Improvisation Interactivity in Electroacoustics October Montreal CEC Marley Brian and Mark Wastell eds 2006 Blocks of Consciousness and the Unbroken Continuum Book DVD London Sound 323 ISBN 978 0 9551541 0 2 Neal Adam Scott 2009 A Continuum of Indeterminacy in Laptop Music eContact 11 4 Toronto Electroacoustic Symposium 2009 TES Symposium Electroacoustique 2009 de Toronto December Montreal CEC Nowitz Alex 2008 Voice and Live Electronics using Remotes as Gestural Controllers eContact 10 4 Temps reel improvisation et interactivite en electroacoustique Live electronics Improvisation Interactivity in Electroacoustics October Montreal CEC Oxford University Press 2015 Disc Oxford English Dictionary Online retrieved 30 August 2014 Stroppa Marco 1999 Live Electronics or Live Music Towards a Critique of Interaction Contemporary Music Review 18 no 3 Aesthetics of Live Electronic Music 41 77 Retrieved from https en wikipedia org w index php title Live electronic music amp oldid 1189156740 Laptronica, wikipedia, wiki, book, books, library,

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