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Electroacoustic music

October 20, 2023

Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments.[1] It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales [fr] at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 20th century.

Tape music Edit

See also: Musique concrète

Tape music is an integral part of musique concrète, which uses the tape recorder as its central musical source. The music can utilise pre-recorded sound fragments and the creation of loops, which can be altered and manipulated through techniques such as editing and playback speed manipulation.[2] The work of Halim El-Dabh is perhaps the earliest example of tape (or, in this case, Wire recording) music. El-Dabh's The Expression of Zaar, first presented in Cairo, Egypt, in 1944, was an early work using musique concrète–like techniques similar to those developed in Paris during the same period. El-Dabh would later become more famous for his work at the Columbia-Princeton Electronic Music Center, where in 1959 he composed the influential piece Leiyla and the Poet.[3]

Composer John Cage's assembly of the Williams Mix serves as an example of the rigors of tape music. First, Cage created a 192-page score. Over the course of a year, 600 sounds were assembled and recorded. Cut tape segments for each occurrence of each sound were accumulated on the score. Then the cut segments were spliced to one of eight tapes, work finished on January 16, 1953. The premiere performance (realization) of the 4'15" work was given on March 21, 1953, at the University of Illinois, Urbana.[4]

Electronic music Edit

See also: Electronic music

In Cologne, elektronische Musik, pioneered in 1949–51 by the composer Herbert Eimert and the physicist Werner Meyer-Eppler, was based solely on electronically generated (synthetic) sounds, particularly sine waves.[5][6][7] The beginning of the development of electronic music has been traced back to "the invention of the valve [vacuum tube] in 1906".[5] The precise control afforded by the studio allowed for what Eimert considered to be the subjection of everything, "to the last element of the single note", to serial permutation, "resulting in a completely new way of composing sound";[8] in the studio, serial operations could be applied to elements such as timbre and dynamics. The common link between the two schools is that the music is recorded and performed through loudspeakers, without a human performer. The majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds, and the schism between Schaeffer's and Eimert's approaches has been overcome, the first major example being Karlheinz Stockhausen's Gesang der Jünglinge of 1955–56.[9][10]

Circuit bending Edit

Circuit bending is the creative short-circuiting of low voltage, battery-powered electronic audio devices such as guitar effects, children's toys and small synthesizers to create new musical instruments and sound generators. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments.[11]

Examples of notable works Edit

Electronic and electroacoustic instruments Edit

Centers, associations and events for electroacoustics and related arts Edit

Important centers of research and composition can be found around the world, and there are numerous conferences and festivals which present electroacoustic music, notably the International Computer Music Conference, the international conference on New Interfaces for Musical Expression, the Electroacoustic Music Studies Conference, and the Ars Electronica Festival (Linz, Austria).

A number of national associations promote the art form, notably the Canadian Electroacoustic Community (CEC) in Canada, the Society for Electro-Acoustic Music in the United States (SEAMUS) in the US, the Australasian Computer Music Association in Australia and New Zealand, and Sound and Music (previously the Sonic Arts Network) in the UK. The Computer Music Journal and Organised Sound are the two most important peer-reviewed journals dedicated to electroacoustic studies, while several national associations produce print and electronic publications.

Festivals Edit

See also: List of electronic music festivals and Category:Electroacoustic music festivals

There have been a number of festivals that feature electroacoustic music. Early festivals such as Donaueschingen Festival, founded in 1921, were some of the first to include electroacoustic instruments and pieces. This was followed by ONCE Festival of New Music in the 1950s, and since the 1960s there has been a growth of festivals that focus exclusively on electroacoustic music.

Conferences and symposiums Edit

Alongside paper presentations, workshops and seminars, many of these events also feature concert performances or sound installations created by those attending or which are related to the theme of the conference / symposium.

See also Edit

References Edit

  1. ^ Anon.a.
  2. ^ Anon.b.
  3. ^ Holmes 2008, 153–154, 157.
  4. ^ Chaudron n.d.
  5. ^ a b Eimert 1957, 2.
  6. ^ Morawska-Büngeler 1988, 11–13.
  7. ^ Ungeheuer 1992, 13.
  8. ^ Eimert 1957, 8.
  9. ^ Morawska-Büngeler 1988, 17.
  10. ^ Stockhausen 1996, 93–94.
  11. ^ Collins 2006,[page needed].
  12. ^ Midgette 2004.

Works cited Edit

  • Anon.a. Avant-Garde » Modern Composition » Tape Music at AllMusic. Retrieved 25 May 2022.
  • Anon.b. Electro-Acoustic: Overview at AllMusic. Retrieved 25 May 2022.
  • Chaudron, André. n.d. "" (Accessed 9 July 2011).
  • Collins, Nicolas. 2006. Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge. ISBN 0-415-97592-1 (pbk).
  • Eimert, Herbert. 1957. "What is Electronic Music?" Die Reihe 1 [English edition] ("Electronic Music"): 1–10.
  • Holmes, Thom. 2008. "Early Synthesizers and Experimenters". In his Electronic and Experimental Music: Technology, Music, and Culture, third edition. New York: Routledge. ISBN 978-0-415-95781-6 (cloth); ISBN 978-0-415-95782-3 (pbk), (accessed 4 June 2011).
  • Midgette, Anne. 2004. "Noises Off! Making a Boombox Cacophony". The New York Times (20 December).
  • Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. J. Tonger Musikverlag.
  • Stockhausen, Karlheinz. 1996. "Electroacoustic Performance Practice", translated by Jerome Kohl. Perspectives of New Music 34, no. 1 (Fall): 74–105.
  • Ungeheuer, Elena. 1992. "Wie die elektronische Musik „erfunden" wurde...: Quellenstudie zu Werner Meyer-Epplers musikalische Entwurf zwischen 1949 und 1953." Kölner Schriften zur Neuen Musik 2, edited by Johannes Fritsch and Dietrich Kämper. Mainz: B. Schott's Söhne. ISBN 3-7957-1891-0.

Further reading Edit

  • Anon. 2007. "Untitled". The Wire 275–280.
  • Beecroft, Norma. 2009. "Electronic Music in Toronto and Canada in the Analogue Era[permanent dead link]." eContact! 11.2 – Figures canadiennes (2) / Canadian Figures (2) (July 2009). Montréal: CEC.
  • Chadabe, Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall. ISBN 0-13-303231-0.
  • Doornbusch, P. 2015. "A Chronology / History of Electronic and Computer Music and Related Events 1906 – 2015" http://www.doornbusch.net/chronology/ 2020-08-18 at the Wayback Machine
  • Emmerson, Simon (ed.). 1986. The Language of Electroacoustic Music. London: Macmillan. ISBN 0-333-39759-2 (cased); ISBN 0-333-39760-6 (pbk).
  • Emmerson, Simon (ed.). 2000. Music, Electronic Media and Culture. Aldershot (UK) and Burlington, Vermont (US): Ashgate Publishing. ISBN 0-7546-0109-9.
  • Gann, Kyle. 2000a. "It's Sound, It's Art, and Some Call It Music." The New York Times (January 9).
  • Gann, Kyle. 2000. "Music; Electronic Music, Always Current." The New York Times (July 9).
  • Griffiths, Paul. 1995. Modern Music and After: Directions Since 1945. Oxford: Oxford University Press. ISBN 0-19-816578-1 (cloth) ISBN 0-19-816511-0 (pbk).
  • Guérin, François. 1983. Les musiques électroacoustiques. À l'écoute de la musique d'ici 2. Montréal: Centre de musique canadienne. [N.B.: Bibliographical list of Canadian electro-acoustic works.] Without ISBN.
  • Heifetz, Robin Julian. 1989. On the Wires of Our Nerves: The Art of Electroacoustic Music. Cranbury, New Jersey: Associated University Presses. ISBN 0-8387-5155-5.
  • Kahn, Douglas. 2001. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, Massachusetts: MIT Press. ISBN 0-262-61172-4.
  • Licata, Thomas (ed.). 2002. Electroacoustic Music: Analytical Perspectives. Contributions to the Study of Music and Dance, 0193-9041; no. 63. Westport, Conn.: Greenwood Press. ISBN 0-313-31420-9.
  • Manning, Peter. 2004. Electronic and Computer Music. Oxford and New York: Oxford University Press. ISBN 0-19-514484-8 (hardback) ISBN 0-19-517085-7 (pbk).
  • Normandeau, Robert. n.d. "Robert Normandeau Interview". Interview with Robert Normandeau On Outsight Radio Hours about electroacoustic compositions and if they are "music".
  • Roads, Curtis. 1996. The Computer Music Tutorial. Cambridge, Massachusetts: MIT Press. ISBN 0-262-18158-4 (cloth) ISBN 0-262-68082-3 (pbk).
  • Smalley, Denis. 1997. "Spectromorphology: Explaining Sound-Shapes." Organised Sound 2, no. 2:107–126.
  • Wishart, Trevor. 1996. On Sonic Art. New and revised edition. Contemporary Music Studies 12. Amsterdam: Harwood Academic Publishers. ISBN 3-7186-5846-1 (cloth) ISBN 3-7186-5847-X (pbk) ISBN 3-7186-5848-8 (CD).
  • Wright, Edward. 2010. "". PhD diss. Bangor: Bangor University.

External links Edit

  • eContact!. Freely available online, four themed issues published each year by the Canadian Electroacoustic Community.
  • "Electroacoustic Bibliography" published in eContact! 8.4 – Ressources éducatives / Educational Resources (Montréal: CEC), an annotated list of journals publishing articles related to electroacoustics.

October 20, 2023
electroacoustic, music, genre, popular, western, music, which, composers, technology, manipulate, timbres, acoustic, sounds, sometimes, using, audio, signal, processing, such, reverb, harmonizing, acoustical, instruments, originated, around, middle, 20th, cent. Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds sometimes by using audio signal processing such as reverb or harmonizing on acoustical instruments 1 It originated around the middle of the 20th century following the incorporation of electric sound production into compositional practice The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales fr at the ORTF in Paris the home of musique concrete the Studio for Electronic Music in Cologne where the focus was on the composition of elektronische Musik and the Columbia Princeton Electronic Music Center in New York City where tape music electronic music and computer music were all explored Practical electronic music instruments began to appear in the early 20th century Contents 1 Tape music 2 Electronic music 3 Circuit bending 4 Examples of notable works 5 Electronic and electroacoustic instruments 6 Centers associations and events for electroacoustics and related arts 6 1 Festivals 6 2 Conferences and symposiums 7 See also 8 References 8 1 Works cited 9 Further reading 9 1 External linksTape music EditSee also Musique concrete Tape music is an integral part of musique concrete which uses the tape recorder as its central musical source The music can utilise pre recorded sound fragments and the creation of loops which can be altered and manipulated through techniques such as editing and playback speed manipulation 2 The work of Halim El Dabh is perhaps the earliest example of tape or in this case Wire recording music El Dabh s The Expression of Zaar first presented in Cairo Egypt in 1944 was an early work using musique concrete like techniques similar to those developed in Paris during the same period El Dabh would later become more famous for his work at the Columbia Princeton Electronic Music Center where in 1959 he composed the influential piece Leiyla and the Poet 3 Composer John Cage s assembly of the Williams Mix serves as an example of the rigors of tape music First Cage created a 192 page score Over the course of a year 600 sounds were assembled and recorded Cut tape segments for each occurrence of each sound were accumulated on the score Then the cut segments were spliced to one of eight tapes work finished on January 16 1953 The premiere performance realization of the 4 15 work was given on March 21 1953 at the University of Illinois Urbana 4 Electronic music EditSee also Electronic music In Cologne elektronische Musik pioneered in 1949 51 by the composer Herbert Eimert and the physicist Werner Meyer Eppler was based solely on electronically generated synthetic sounds particularly sine waves 5 6 7 The beginning of the development of electronic music has been traced back to the invention of the valve vacuum tube in 1906 5 The precise control afforded by the studio allowed for what Eimert considered to be the subjection of everything to the last element of the single note to serial permutation resulting in a completely new way of composing sound 8 in the studio serial operations could be applied to elements such as timbre and dynamics The common link between the two schools is that the music is recorded and performed through loudspeakers without a human performer The majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds and the schism between Schaeffer s and Eimert s approaches has been overcome the first major example being Karlheinz Stockhausen s Gesang der Junglinge of 1955 56 9 10 Circuit bending EditCircuit bending is the creative short circuiting of low voltage battery powered electronic audio devices such as guitar effects children s toys and small synthesizers to create new musical instruments and sound generators Emphasizing spontaneity and randomness the techniques of circuit bending have been commonly associated with noise music though many more conventional contemporary musicians and musical groups have been known to experiment with bent instruments 11 Examples of notable works EditMilton Babbitt Philomel 1964 Luciano Berio Thema Omaggio a Joyce 1958 59 Johanna Beyer Music of the Spheres 1938 Konrad Boehmer Aspekt 1964 66 Apocalipsis cum figuris 1984 Pierre Boulez Repons 1981 84 John Cage Imaginary Landscape No 1 1939 Mario Davidovsky Synchronisms No 6 for Piano and Electronic Sound 1970 Halim El Dabh Leiyla and the Poet 1961 Karel Goeyvaerts Nummer 5 met zuivere tonen 1953 Tim Hecker Virgins 2013 Jean Michel Jarre Deserted Palace 1972 Phil Kline Unsilent Night 1992 for cassettes in boomboxes 12 Gottfried Michael Koenig Project 1 1964 Project 2 1966 Alvin Lucier I Am Sitting in a Room 1969 Ivo Malec Triola ou Symphonie pour moi meme 1977 78 Luigi Nono La fabbrica illuminata 1964 A floresta e jovem e cheia de vida 1966 Contrappunto dialettico alla mente 1968 Como una ola de fuerza y luz 1971 72 Pauline Oliveros Sonic Meditations Teach Yourself to Fly 1961 Else Marie Pade Symphonie Magnetophonique 1958 Henri Pousseur Scambi 1957 Trois Visages de Liege 1961 Paraboles Mix 1972 Seize Paysages planetairesl 2000 Steve Reich Pendulum Music 1968 for microphones amplifiers speakers and performers Pierre Schaeffer Cinq etudes de bruits 1948 Karlheinz Stockhausen Gesang der Junglinge 1955 56 Kontakte 1958 60 Mixtur 1964 Mikrophonie I amp II 1964 and 1965 Telemusik 1966 Hymnen 1966 67 Oktophonie 1991 Cosmic Pulses 2006 2007 James Tenney For Ann rising 1969 Edgard Varese Poeme electronique 1958 Charles Wuorinen Time s Encomium 1969 Iannis Xenakis Persepolis 1971 Electronic and electroacoustic instruments EditBirotron 1974 Dave Biro Buchla 100 and 200 serie 1960s 70s Buchla Lightning I 1991 and Buchla Lightning II 1995 by Don Buchla Cembaphon 1951 Harald Bode Chamberlin 1946 Clavinet 1964 Clavioline early 1950s and Concert Clavioline 1953 Harald Bode Clavivox Circle Machine Bass Line Generator Rhythm Modulator Bandito the Bongo Artist and Electronium 1950s 60s Raymond Scott DX7 1983 Yamaha Elektronium in German EMS Synthi AKS 1972 Fairlight CMI 1978 Gravikord 1986 Robert Grawi Kraakdoos Cracklebox 1960s 70s Michel Waisvisz Mellotron 1960s Melochord 1947 49 Harald Bode Melodium 1938 Harald Bode Moog synthesizer 1965 Robert Moog Ondioline 1939 Georges Jenny Optigan 1971 Orchestron 1975 Vako Synthesizers Polychord 1950 and Polychord III 1951 Harald Bode Electronic Sackbut 1945 Hugh Le Caine Sampler musical instrument Synclavier 1975 Jon Appleton Sydney A Alonso and Cameron Jones Telharmonium 1897 Thaddeus Cahill Theremin 1928 Leon Theremin Tuttivox 1953 Harald Bode UPIC 1977 Iannis Xenakis and CEMAMu Warbo Formant organ 1937 Harald BodeCenters associations and events for electroacoustics and related arts EditImportant centers of research and composition can be found around the world and there are numerous conferences and festivals which present electroacoustic music notably the International Computer Music Conference the international conference on New Interfaces for Musical Expression the Electroacoustic Music Studies Conference and the Ars Electronica Festival Linz Austria A number of national associations promote the art form notably the Canadian Electroacoustic Community CEC in Canada the Society for Electro Acoustic Music in the United States SEAMUS in the US the Australasian Computer Music Association in Australia and New Zealand and Sound and Music previously the Sonic Arts Network in the UK The Computer Music Journal and Organised Sound are the two most important peer reviewed journals dedicated to electroacoustic studies while several national associations produce print and electronic publications Festivals Edit See also List of electronic music festivals and Category Electroacoustic music festivals There have been a number of festivals that feature electroacoustic music Early festivals such as Donaueschingen Festival founded in 1921 were some of the first to include electroacoustic instruments and pieces This was followed by ONCE Festival of New Music in the 1950s and since the 1960s there has been a growth of festivals that focus exclusively on electroacoustic music 60x60 Intl Ars Electronica Austria Berlin Atonal Germany Cybersonica UK Dias de Musica Electroacustica Intl Electro music UK Electroacoustic Music Days Greece Electronic Music Midwest US Electrofringe Australia Expo 70 Japan International Computer Music Conference Intl International Electroacoustic Music Festival Cuba Les Siestes Electroniques France Music For People amp Thingamajigs Festival US New Interfaces for Musical Expression Int Numusic Norway NWEAMO US Olympia Experimental Music Festival US ONCE Festival of New Music US Presences Electroniques France Pro Musica Nova Germany Spark Festival US TodaysArt The Netherlands Conferences and symposiums Edit Alongside paper presentations workshops and seminars many of these events also feature concert performances or sound installations created by those attending or which are related to the theme of the conference symposium See also EditAcousmatic music Computer music Digital signal processing Experimental music International Documentation of Electroacoustic Music Japanoise List of acousmatic music composers Live electronic music Sonology Sound recording and reproduction Sound artReferences Edit Anon a Anon b Holmes 2008 153 154 157 Chaudron n d a b Eimert 1957 2 Morawska Bungeler 1988 11 13 Ungeheuer 1992 13 Eimert 1957 8 Morawska Bungeler 1988 17 Stockhausen 1996 93 94 Collins 2006 page needed Midgette 2004 Works cited Edit Anon a Avant Garde Modern Composition Tape Music at AllMusic Retrieved 25 May 2022 Anon b Electro Acoustic Overview at AllMusic Retrieved 25 May 2022 Chaudron Andre n d Williams Mix Accessed 9 July 2011 Collins Nicolas 2006 Handmade Electronic Music The Art of Hardware Hacking New York Routledge ISBN 0 415 97592 1 pbk Eimert Herbert 1957 What is Electronic Music Die Reihe 1 English edition Electronic Music 1 10 Holmes Thom 2008 Early Synthesizers and Experimenters In his Electronic and Experimental Music Technology Music and Culture third edition New York Routledge ISBN 978 0 415 95781 6 cloth ISBN 978 0 415 95782 3 pbk accessed 4 June 2011 Midgette Anne 2004 Noises Off Making a Boombox Cacophony The New York Times 20 December Morawska Bungeler Marietta 1988 Schwingende Elektronen Eine Dokumentation uber das Studio fur Elektronische Musik des Westdeutschen Rundfunk in Koln 1951 1986 Cologne Rodenkirchen P J Tonger Musikverlag Stockhausen Karlheinz 1996 Electroacoustic Performance Practice translated by Jerome Kohl Perspectives of New Music 34 no 1 Fall 74 105 Ungeheuer Elena 1992 Wie die elektronische Musik erfunden wurde Quellenstudie zu Werner Meyer Epplers musikalische Entwurf zwischen 1949 und 1953 Kolner Schriften zur Neuen Musik 2 edited by Johannes Fritsch and Dietrich Kamper Mainz B Schott s Sohne ISBN 3 7957 1891 0 Further reading EditAnon 2007 Untitled The Wire 275 280 Beecroft Norma 2009 Electronic Music in Toronto and Canada in the Analogue Era permanent dead link eContact 11 2 Figures canadiennes 2 Canadian Figures 2 July 2009 Montreal CEC Chadabe Joel 1997 Electric Sound The Past and Promise of Electronic Music Upper Saddle River New Jersey Prentice Hall ISBN 0 13 303231 0 Doornbusch P 2015 A Chronology History of Electronic and Computer Music and Related Events 1906 2015 http www doornbusch net chronology Archived 2020 08 18 at the Wayback Machine Emmerson Simon ed 1986 The Language of Electroacoustic Music London Macmillan ISBN 0 333 39759 2 cased ISBN 0 333 39760 6 pbk Emmerson Simon ed 2000 Music Electronic Media and Culture Aldershot UK and Burlington Vermont US Ashgate Publishing ISBN 0 7546 0109 9 Gann Kyle 2000a It s Sound It s Art and Some Call It Music The New York Times January 9 Gann Kyle 2000 Music Electronic Music Always Current The New York Times July 9 Griffiths Paul 1995 Modern Music and After Directions Since 1945 Oxford Oxford University Press ISBN 0 19 816578 1 cloth ISBN 0 19 816511 0 pbk Guerin Francois 1983 Les musiques electroacoustiques A l ecoute de la musique d ici 2 Montreal Centre de musique canadienne N B Bibliographical list of Canadian electro acoustic works Without ISBN Heifetz Robin Julian 1989 On the Wires of Our Nerves The Art of Electroacoustic Music Cranbury New Jersey Associated University Presses ISBN 0 8387 5155 5 Kahn Douglas 2001 Noise Water Meat A History of Sound in the Arts Cambridge Massachusetts MIT Press ISBN 0 262 61172 4 Licata Thomas ed 2002 Electroacoustic Music Analytical Perspectives Contributions to the Study of Music and Dance 0193 9041 no 63 Westport Conn Greenwood Press ISBN 0 313 31420 9 Manning Peter 2004 Electronic and Computer Music Oxford and New York Oxford University Press ISBN 0 19 514484 8 hardback ISBN 0 19 517085 7 pbk Normandeau Robert n d Robert Normandeau Interview Interview with Robert Normandeau On Outsight Radio Hours about electroacoustic compositions and if they are music Roads Curtis 1996 The Computer Music Tutorial Cambridge Massachusetts MIT Press ISBN 0 262 18158 4 cloth ISBN 0 262 68082 3 pbk Smalley Denis 1997 Spectromorphology Explaining Sound Shapes Organised Sound 2 no 2 107 126 Wishart Trevor 1996 On Sonic Art New and revised edition Contemporary Music Studies 12 Amsterdam Harwood Academic Publishers ISBN 3 7186 5846 1 cloth ISBN 3 7186 5847 X pbk ISBN 3 7186 5848 8 CD Wright Edward 2010 Symbiosis A Portfolio of Work Focusing on the Tensions Between Electroacoustic and Instrumental Music PhD diss Bangor Bangor University External links Edit eContact Freely available online four themed issues published each year by the Canadian Electroacoustic Community Electroacoustic Bibliography published in eContact 8 4 Ressources educatives Educational Resources Montreal CEC an annotated list of journals publishing articles related to electroacoustics Retrieved from https en wikipedia org w index php title Electroacoustic music amp oldid 1179433050 Tape music, wikipedia, wiki, book, books, library,

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