Recollections and Reflections on Organised Sound

2015 ◽  
Vol 20 (1) ◽  
pp. 15-22
Author(s):  
Jean-Claude Risset
Keyword(s):  
Electronic Music ◽  
Music Performance ◽  
Intimate Relationship ◽  
Musical Sound ◽  
Cambridge University ◽  
Digital Era ◽  
Live Electronic Music ◽  
Musical Transformation ◽  
Anniversary Issue ◽  
Twentieth Anniversary

In this contribution to the twentieth anniversary issue of Organised Sound, I first recall the reasons for dedicating a periodical to organised sound which I mentioned in my answer to inquiries from Cambridge University Press before the journal existed. The digital era is still in its infancy and it will permit a host of new ways to organise sound. I suggest in particular the development of an intimate relationship between acoustic and digital sounds; the extension of structural notations of sound and music and their exploitation for novel musical transformation; the amplification of the use of functions and combinations of functions. I evoke some issues discussed in Organised Sound, elaborating in more detail some problematic topics: analysis and reconstruction of computer music, live electronic music performance, perception of musical sound and sensory aesthetics.

scholarly journals Now I'm Digital, Where Is My Ritual?: Exploring Postdigital Performance Objects as Totems for Agency and Ritual

2020 ◽  
Vol 30 ◽  
pp. 68-72
Author(s):  
Neal Spowage
Keyword(s):  
Performance Practice ◽  
Electronic Music ◽  
Music Performance ◽  
Live Electronic Music ◽  
Contemporary Technology

The author argues that significant aspects of electronic music performance have been diminished in the rush to incorporate the latest, often discreet (as in intentionally unobtrusive) technologies. He identifies these aspects as agency, ritual and, to a lesser extent, serendipity and mess. Using references to his own work, he suggests that applying an understanding of how actors create totems to present agency and affordance is essential to regain, and possibly acclimate, these tools and practices so they are relevant to live electronic music performance practice in a contemporary technology environment.

scholarly journals Motor Constraints Shaping Musical Experience

2018 ◽  
Vol 24 (3) ◽  
Author(s):  
Rolfe Inge Godøy
Keyword(s):  
Electronic Music ◽  
Music Perception ◽  
Music Cognition ◽  
Music Performance ◽  
Body Motion ◽  
Musical Experience ◽  
Musical Sound ◽  
Perceptual Features ◽  
Motor Constraints

In recent decades, we have seen a surge in published work on embodied music cognition, and it is now broadly accepted that musical experience is intimately linked with experiences of body motion. It is also clear that music performance is not something abstract and without restrictions, but something traditionally (i.e., before the advent of electronic music) constrained by our possibilities for body motion. The focus of this paper is on these various constraints of sound-producing body motion that shape the emergent perceptual features of musical sound, as well as on how these constraints may enhance our understanding of agency in music perception.

scholarly journals Performers of the night: Examining the mental health of electronic music artists

2021 ◽  
pp. 030573562097698
Author(s):  
Jolan Kegelaers ◽  
Lewie Jessen ◽  
Eline Van Audenaerde ◽  
Raôul RD Oudejans
Keyword(s):  
Mental Health ◽  
Social Support ◽  
Sleep Disturbance ◽  
Electronic Music ◽  
Music Performance ◽  
Well Being ◽  
Cross Sectional ◽  
Music Performance Anxiety ◽  
Symptoms Of Depression ◽  
Levels Of Functioning

Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.

From Site-specific to Site-responsive: Sound art performances as participatory milieu

2017 ◽  
Vol 22 (1) ◽  
pp. 83-92 ◽  
Author(s):  
Lauren Hayes
Keyword(s):  
Visual Arts ◽  
Electronic Music ◽  
Sound Art ◽  
Cultural Institutions ◽  
Relational Aesthetics ◽  
Third Order ◽  
Site Specific ◽  
The Social ◽  
Live Electronic Music ◽  
Three Stages

This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the termsite-specificby drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small’s idea of music as sets of third-order relationships, and Bourriaud’s relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.

scholarly journals Table of Contents & Editorials

2010 ◽  
Vol 20 (1) ◽  
pp. 1-5
Author(s):  
Kelly McGonigal
Keyword(s):  
Yoga Therapy ◽  
Journal Editors ◽  
Anniversary Issue ◽  
Twentieth Anniversary ◽  
The Right

Welcome to the twentieth anniversary issue of the Journal. This issue celebrates the history and future of Yoga therapy and our association, alongside the kind of practical, educational, and thought-provoking articles that have been this publication's mission since 1990. As I found myself wondering what I could put on this page, I recalled a speaker who opened her talk by asking the elders in the room for permission to speak. "You each have earned the right to speak first," she told them. In this spirit, I would like to use this editor's column to revisit some of the wise words shared by previous Journal editors and authors. I searched the archives for glimpses of our past that address, in some way, the question we find ourselves still asking after twenty years: "What is Yoga therapy?"

Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance

Leonardo ◽  
2016 ◽  
Vol 49 (3) ◽  
pp. 203-210 ◽  
Author(s):  
Shaltiel Eloul ◽  
Gil Zissu ◽  
Yehiel H. Amo ◽  
Nori Jacoby
Keyword(s):  
Electronic Music ◽  
Motion Tracking ◽  
Music Performance ◽  
Three Dimensional ◽  
Extra Information

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

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