Composition in circular sound space: Migration 12-channel electronic music (1995–97)

2008 ◽  
Vol 13 (3) ◽  
pp. 189-198
Author(s):  
Paulo C Chagas
Keyword(s):  
Electronic Music ◽  
Music Composition ◽  
Physical Space ◽  
Electroacoustic Music ◽  
Sound Synthesis ◽  
Space Technology ◽  
Spatial Environment

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.

Half-heard sounds in the summer air: electroacoustic music in Wellington and the South Island of New Zealand

2001 ◽  
Vol 6 (1) ◽  
pp. 21-28
Author(s):  
Michael Norris ◽  
John Young
Keyword(s):  
New Zealand ◽  
Electronic Music ◽  
Music Composition ◽  
Focal Point ◽  
Electroacoustic Music ◽  
The South ◽  
The University ◽  
Music Activities

This article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn's pioneering work in the early 1960s. The Victoria University of Wellington Electronic Music Studios (VUW/EMS) that Lilburn established in 1966 became a focal point for electronic music activities in the late 1960s and early 1970s. This article examines current approaches to electroacoustic music composition, and discusses the facilities at Victoria University, the University of Canterbury and the University of Otago.

Methodologies for Genre Hybridisation

2016 ◽  
Vol 21 (2) ◽  
pp. 117-126
Author(s):  
Robert Bentall
Keyword(s):  
Electronic Music ◽  
Music Composition ◽  
Electroacoustic Music ◽  
The Novel ◽  
Novel Concept

This article attempts to explore working methods for developing hybrid tendencies within electroacoustic music compositions. These working methods, such as the novel concept of reconstructive sampling, are each explored with musical examples given. The article opens by giving definitions of genre, and then explores hybridisation as a concept through ideas developed by Duff (2000), Waters (2000) and Frow (2015). While the article focuses on the musical output of the author, personal compositions are placed in a broader context through the discussion of other artists within the wider field of electronic music composition.

Genre and Capital in Avant-garde Electronica

2016 ◽  
Vol 21 (1) ◽  
pp. 61-71
Author(s):  
Eliot Britton
Keyword(s):  
Electronic Music ◽  
Electroacoustic Music ◽  
Music Technology ◽  
Power Dynamics ◽  
Artistic Practice ◽  
Avant Garde ◽  
Music Making ◽  
Tools And Techniques ◽  
Flexible Boundaries ◽  
Structured Approach

This article applies a genre level approach to the tangled discourse surrounding the points of convergence between avant-garde electronica and electroacoustic music. More specifically the article addresses related experimental practices in these distinct yet related fields of electronic music-making. The democratisation of music technology continues to expand into an increasingly diverse set of musical fields, destabilising established power dynamics. A flexible, structured approach to the analysis of these relationships facilitates the navigation of crumbling boundaries and shifting relationships. Contemporary electronic music’s overlapping networks encompass varying forms of capital, aesthetics, technology, ideology, tools and techniques. These areas offer interesting points of convergence. As the discourse surrounding electronic music expands, so must the vocabulary and conceptual models used to describe and discuss new areas of converging artistic practice. Genre level diagrams selectively collapse, expand and arrange artistic fields, facilitating concrete, coherent arguments and the examination of patterns and relationships. Through the genre level diagram’s establishment of distinct yet flexible boundaries, electronic music’s sprawling discourse can be cordoned off, expanded or contracted to suit structured analyses. In this way, this approach clarifies scope and facilitates simultaneous examination from a variety of perspectives.

scholarly journals Exploring the motivations for building new digital musical instruments

2018 ◽  
Vol 24 (3) ◽  
pp. 313-329 ◽  
Author(s):  
Gina Emerson ◽  
Hauke Egermann
Keyword(s):  
Electronic Music ◽  
Interview Study ◽  
Musical Instruments ◽  
Sound Synthesis ◽  
Responsive Systems ◽  
The Past ◽  
Music Making ◽  
Digital Sound

Over the past four decades, the number, diversity and complexity of digital musical instruments (DMIs) has increased rapidly. There are very few constraints on DMI design as such systems can be easily reconfigured, offering near limitless flexibility for music-making. Given that new acoustic musical instruments have in many cases been created in response to the limitations of available technologies, what motivates the development of new DMIs? We conducted an interview study with ten designers of new DMIs, in order to explore (a) the motivations electronic musicians may have for wanting to build their own instruments; and (b) the extent to which these motivations relate to the context in which the artist works and performs (academic vs club settings). We found that four categories of motivation were mentioned most often: M1 – wanting to bring greater embodiment to the activity of performing and producing electronic music; M2 – wanting to improve audience experiences of DMI performances; M3 – wanting to develop new sounds, and M4 – wanting to build responsive systems for improvisation. There were also some detectable trends in motivation according to the context in which the artists work and perform. Our results offer the first systematically gathered insights into the motivations for new DMI design. It appears that the challenges of controlling digital sound synthesis drive the development of new DMIs, rather than the shortcomings of any one particular design or existing technology.

scholarly journals Emerging Materiality: Reflections on Creative Use of Software in Electronic Music Composition

Leonardo ◽  
2009 ◽  
Vol 42 (3) ◽  
pp. 197-202 ◽  
Author(s):  
Olav W. Bertelsen ◽  
Morten Breinbjerg ◽  
Søren Pold
Keyword(s):  
Electronic Music ◽  
Music Composition ◽  
Theoretical Argument ◽  
Dominant Form ◽  
Computer Mediated

The authors examine how materiality emerges from complex chains of mediation in creative software use. The primarily theoretical argument is inspired and illustrated by interviews with two composers of electronic music. The authors argue that computer mediated activity should not primarily be understood in terms of simple mediation, but rather as chains of complex mediation in which the dominant form of representation is metonymy rather than metaphor.

Physical space, culture and organisational creativity – a longitudinal study

Facilities ◽  
2015 ◽  
Vol 33 (5/6) ◽  
pp. 389-411 ◽  
Author(s):  
Tomi J. Kallio ◽  
Kirsi-Mari Kallio ◽  
Annika Johanna Blomberg
Keyword(s):  
Longitudinal Study ◽  
Cultural Change ◽  
Physical Environment ◽  
Physical Space ◽  
Organisational Culture ◽  
Longitudinal Case Study ◽  
Content Type ◽  
Positive Effects ◽  
Spatial Environment ◽  
Before And After

Purpose – The purpose of this study is to explore the potential positive effects of the design of a physical organisational environment on the emergence of an organisational culture conducive to organisational creativity. Design/methodology/approach – The study is based on an in-depth, longitudinal case study, the aim being to enhance understanding of how a change in physical space, including location, spatial organisation and architectonic details, supports cultural change. Findings – It is suggested that physical space plays an implicit yet significant role in the emergence of a culture conducive to organisational creativity. It appears from the case analysis that there are three aspects of culture in particular, equality, openness and collectivity, that may be positively affected by the design of an organisation’s physical environment. Practical implications – The careful choice, planning and design of an organisation’s physical location, layout and style can advance the appearance of an organisational culture conducive to creativity. Originality/value – The paper describes a longitudinal study comparing a case organisation before and after a change in its physical environment. The longitudinal data illustrates how a change in the spatial environment contributes to the emergence of a culture conducive to organisational creativity.

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