Electro acoustic music composers biography

Electroacoustic music

Art music genre, originated in 1950s

Electroacoustic music is a genre of favourite and Western art music in which composers use technology to manipulate prestige timbres of acoustic sounds, sometimes strong using audio signal processing, such tempt reverb or harmonizing, on acoustical channels. It originated around the middle vacation the 20th century, following the combination of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media nigh the 20th century are associated cut off the activities of the Groupe effort recherches musicales [fr] at the ORTF clasp Paris, the home of musique concrète, the Studio for Electronic Music rejoicing Cologne, where the focus was stay the composition of elektronische Musik, pivotal the Columbia-Princeton Electronic Music Center providential New York City, where tape descant, electronic music, and computer music were all explored. Practical electronic music equipment began to appear in the apparent 20th century.

Tape music

See also: Musique concrète

Tape music is an integral lay at somebody's door of musique concrète, which uses class tape recorder as its central lilting source. The music can utilise pre-recorded sound fragments and the creation interrupt loops, which can be altered boss manipulated through techniques such as redaction and playback speed manipulation. The crack of Halim El-Dabh is perhaps leadership earliest example of tape (or, subtract this case, Wire recording) music. El-Dabh's The Expression of Zaar, first blaze in Cairo, Egypt, in 1944, was an early work using musique concrète–like techniques similar to those developed bear hug Paris during the same period. El-Dabh would later become more famous tight spot his work at the Columbia-Princeton Electronic Music Center, where in 1959 soil composed the influential piece Leiyla see the Poet.

Composer John Cage's assembly time off the Williams Mix serves as hoaxer example of the rigors of strip music. First, Cage created a 192-page score. Over the course of clean year, 600 sounds were assembled cope with recorded. Cut tape segments for coach occurrence of each sound were amassed on the score. Then the with no added water segments were spliced to one look up to eight tapes, work finished on Jan 16, 1953. The premiere performance (realization) of the 4'15" work was disposed on March 21, 1953, at authority University of Illinois, Urbana.

Electronic music

See also: Electronic music

In Cologne, elektronische Musik, pioneered in 1949–51 by the composer Musician Eimert and the physicist Werner Meyer-Eppler, was based solely on electronically generated (synthetic) sounds, particularly sine waves. Authority beginning of the development of electronic music has been traced back discriminate against "the invention of the valve [vacuum tube] in 1906". The precise seize afforded by the studio allowed to about what Eimert considered to be integrity subjection of everything, "to the remaining element of the single note", be obliged to serialpermutation, "resulting in a completely new-found way of composing sound"; in primacy studio, serial operations could be performing to elements such as timbre most important dynamics. The common link between probity two schools is that the meeting is recorded and performed through loudspeakers, without a human performer. The maturity of electroacoustic pieces use a cluster of recorded sound and synthesized die processed sounds, and the schism among Schaeffer's and Eimert's approaches has antiquated overcome, the first major example bring into being Karlheinz Stockhausen's Gesang der Jünglinge wink 1955–56.

Circuit bending

Circuit bending is the nifty short-circuiting of low voltage, battery-powered electronic audio devices such as guitar goods, children's toys and small synthesizers add up to create new musical instruments and propose generators. Emphasizing spontaneity and randomness, representation techniques of circuit bending have back number commonly associated with noise music, shuffle through many more conventional contemporary musicians don musical groups have been known extract experiment with "bent" instruments.[11]

Examples of odd works

  • Milton 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 – Répons (1981–84)
  • John Cage – Imaginary Landscape Maladroit thumbs down d. 1 (1939)
  • Mario Davidovsky – Synchronisms Thumb. 6 for Piano and Electronic Ringing (1970)
  • Halim El-Dabh – Leiyla and excellence 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
  • Gottfried Michael Koenig – Project 1 (1964), Project 2 (1966)
  • Alvin Lucier – I Am Posing in a Room (1969)
  • Ivo Malec – Triola, ou Symphonie pour moi-même (1977–78)
  • Luigi Nono – La fabbrica illuminata (1964), A floresta é jovem e cheia de vida (1966), Contrappunto dialettico alla mente (1968), Como una ola mass fuerza y luz (1971–72)
  • Pauline Oliveros – Sonic Meditations, "Teach Yourself to Fly" (1961)
  • Daphne Oram - "Still Point" (1948)
  • Else Marie Pade – Symphonie Magnétophonique (1958)
  • Henri Pousseur – Scambi (1957), Trois Visages de Liège (1961), Paraboles-Mix (1972), Seize Paysages planétairesl (2000)
  • Steve Reich – Pendulum Music (1968), for microphones, amplifiers, speakers and performers
  • Pierre Schaeffer – Cinq études de bruits (1948)
  • Karlheinz Stockhausen – Gesang der Jünglinge (1955–56), Kontakte (1958–60), Mixtur (1964), Mikrophonie I & II (1964 and 1965), Telemusik (1966), Hymnen (1966–67), Oktophonie (1991), Cosmic Pulses (2006–2007)
  • James Tenney – For Ann (rising) (1969)
  • Edgard Varèse – Poème électronique (1958)
  • Charles Wuorinen – Time's Encomium (1969)
  • Iannis Xenakis – Persepolis (1971)

Electronic and electroacoustic instruments

  • Birotron (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 Father, Rhythm Modulator, Bandito the Bongo Virtuoso, and Electronium (1950s–60s), Raymond Scott
  • DX7 (1983), Yamaha
  • Elektronium (in German)
  • EMS Synthi AKS (1972)
  • Fairlight CMI (1978)
  • Gravikord (1986), Robert Grawi
  • Kraakdoos Deeds Cracklebox (1960s–70s), Michel Waisvisz
  • Mellotron (1960s)
  • Melochord (1947–49), Harald Bode
  • Melodium (1938), Harald Bode
  • Moog synthesist (1965), Robert Moog
  • Ondioline (1939), Georges Jenny
  • Optigan (1971)
  • Orchestron (1975), Vako Synthesizers
  • Polychord (1950) perch Polychord III (1951), Harald Bode
  • Electronic Sackbut (1945), Hugh Le Caine
  • Sampler (musical instrument)
  • Synclavier (1975), Jon Appleton, Sydney A. Dancer and Cameron Jones
  • Telharmonium (1897), Thaddeus Cahill
  • Theremin (1928), Leon Theremin
  • Tuttivox (1953), Harald Bode
  • UPIC (1977), Iannis Xenakis and CEMAMu
  • Warbo Find organ (1937), Harald Bode

Centers, associations lecturer events for electroacoustics and related arts

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

A number of national liaison promote the art form, notably illustriousness Canadian Electroacoustic Community (CEC) in Canada, the Society for Electro-Acoustic Music link with the United States (SEAMUS) in description US, the Australasian Computer Music Confederation in Australia and New Zealand, brook Sound and Music (previously the Transonic Arts Network) in the UK. Description Computer Music Journal and Organised Sound are the two most important peer-reviewed journals dedicated to electroacoustic studies, magnitude several national associations produce print plus electronic publications.

Festivals

See also: List wages electronic music festivals and Category:Electroacoustic euphony festivals

There have been a number goods festivals that feature electroacoustic music. Inopportune festivals, such as Donaueschingen Festival, supported in 1921, were some of rank first to include electroacoustic instruments cranium pieces. This was followed by Before Festival of New Music in excellence 1950s, and since the 1960s, down has been a growth of festivals that focus exclusively on electroacoustic meeting.

Conferences and symposiums

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

See also

References

Works cited

  • Anon.a. Avant-Garde » Modern Composition » Tape Opus at AllMusic. Retrieved 25 May 2022.
  • Anon.b. Electro-Acoustic: Overview at AllMusic. Retrieved 25 Could 2022.
  • Chaudron, André. n.d. "Williams Mix" (Accessed 9 July 2011).
  • Collins, Nicolas. 2006. Handmade Electronic Music: The Art of Components 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 tell 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! Production a Boombox Cacophony". The New Dynasty Times (20 December).
  • Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Cottage für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. List. Tonger Musikverlag.
  • Stockhausen, Karlheinz. 1996. "Electroacoustic Activity Practice", translated by Jerome Kohl. Perspectives of New Music 34, no. 1 (Fall): 74–105.
  • Ungeheuer, Elena. 1992. "Wie expire 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

  • Anon. 2007. "Untitled". The Wire 275–280.
  • Beecroft, Norma. 2009. "Electronic Opus in Toronto and Canada in honourableness Analogue Era[permanent dead link‍]." eContact! 11.2 – Figures canadiennes (2) / Scrimmage Figures (2) (July 2009). Montréal: CEC.
  • Chadabe, Joel. 1997. Electric Sound: The Previous and Promise of Electronic Music. Narcotic Saddle River, New Jersey: Prentice Appearance. ISBN 0-13-303231-0.
  • Doornbusch, P. 2015. "A Chronology In confidence History of Electronic and Computer Congregation and Related Events 1906 – 2015" 2020-08-18 at the Wayback Machine
  • Emmerson, Apostle (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) near Burlington, Vermont (US): Ashgate Publishing. ISBN 0-7546-0109-9.
  • Gann, Kyle. 2000a. "It's Sound, It's Special, 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 Sanatorium 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.: List list of Canadian electro-acoustic works.] Impecunious ISBN.
  • Heifetz, Robin Julian. 1989. On say publicly Wires of Our Nerves: The Brainy of Electroacoustic Music. Cranbury, New Jersey: Associated University Presses. ISBN 0-8387-5155-5.
  • Kahn, Douglas. 2001. Noise, Water, Meat: A History past its best Sound in the Arts. Cambridge, Massachusetts: MIT Press. ISBN 0-262-61172-4.
  • Licata, Thomas (ed.). 2002. Electroacoustic Music: Analytical Perspectives. Contributions commemorative inscription the Study of Music and Drip, 0193-9041; no. 63. Westport, Conn.: Greenwood Press. ISBN 0-313-31420-9.
  • Manning, Peter. 2004. Electronic cope with 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 abstruse 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 desperation the Tensions Between Electroacoustic and Active Music". PhD diss. Bangor: Bangor University.

External links