Experimental music in Australia using live electronics

1991 ◽  
Vol 6 (1) ◽  
pp. 159-172
Author(s):  
Warren Burt
Keyword(s):  
Experimental Music ◽  
Live Electronics

Dante Boon, Six Melodies (2020), 3×3 Concerts 5 June, 3 July and 7 August 2020.

Tempo ◽  
2021 ◽  
Vol 75 (296) ◽  
pp. 90-92
Author(s):  
Sophie Stone
Keyword(s):  
Experimental Music ◽  
Free Range ◽  
Difficult Time ◽  
Music Ensemble

The Covid-19 pandemic is an extremely difficult time for musicians, and some, out of necessity and perhaps curiosity and experimentation, have been exploring digital realisations of music, such as live streamed or pre-recorded concerts. Examples that I have experienced or have been a part of include the experimental music ensemble Bastard Assignment's Lockdown Jams involving Zoom experiments, the experimental Free Range Concert Series streamed on YouTube, the Montrose Composers’ Club Zoom collaborations, and The Ensemble Whose Name is Uhhhhmm … (formerly Lil’ Jürg Frey) who perform music in Animal Crossing using in-game sounds.

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

A Musical Technography of John Bischoff

2004 ◽  
Vol 14 ◽  
pp. 75-79
Author(s):  
Douglas Kahn
Keyword(s):  
San Francisco ◽  
Early Development ◽  
Computer Music ◽  
Turning Point ◽  
San Francisco Bay Area ◽  
Experimental Music ◽  
Music Technology ◽  
Electronic Components ◽  
Bay Area ◽  
The Impact

John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development as a student of experimental music technology, including the impact of hearing and assisting in the work of David Tudor. Bischoff, like Tudor, explored the unpredictable potentials within electronic components, and he brought this curiosity to bear when he began working on one of the first available micro-computers. He was a key individual at the historical turning point when computer music escaped its institutional restric-tions and began becoming widespread.

In re: ‘Experimental Music’

2012 ◽  
Vol 31 (1) ◽  
pp. 37-62 ◽  
Author(s):  
William Brooks
Keyword(s):  
Experimental Music

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

From Experimental Music to Musical Experiment

1997 ◽  
Vol 35 (1) ◽  
pp. 187 ◽  
Author(s):  
Frank X. Mauceri
Keyword(s):  
Experimental Music

CHASING SONIC THREADS: DISENTANGLING THE ELECTROACOUSTIC TAPESTRY OF IRELAND

Tempo ◽  
2017 ◽  
Vol 71 (281) ◽  
pp. 5-26
Author(s):  
Barbara Jillian Dignam
Keyword(s):  
Experimental Music ◽  
Creative Expression ◽  
The Past ◽  
International Trends ◽  
The Rich

AbstractThis article seeks to initiate discourse around the vibrant and somewhat uncharted electroacoustic weave that significantly contributes to Ireland's musical tapestry through a consideration of six diverse threads: Softday, Jennifer Walshe, Karen Power, Linda Buckley, Fergal Dowling and Jonathan Nangle. Investigation of Ireland's recent electroacoustic scene will confirm that an emerging DIY aesthetic aligns with international trends of the past decade, with pop-up events, improvisation groups, experimental music collectives and intermedia festivals providing avenues for collaborative and creative expression. It will provide contrasting, yet interconnected examples of what will be termed ‘DIYing’ including a discussion of influences, concepts, practices and brief analyses of works. It is hoped that this article will see the beginning of a wider acknowledgement of the rich musical dialogues that are taking place.

scholarly journals Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory

2018 ◽  
Author(s):  
Miško Šuvaković
Keyword(s):  
Experimental Music ◽  
Experimental Film ◽  
Experimental Theater ◽  
Avant Garde ◽  
Experimental Art ◽  
Institutional Power ◽  
Starting Point ◽  
Singular Event ◽  
Unknown Control ◽  
Second World

In what follows, I will point to theorization of concept of the experimental film. My main thesis is that experimental art is based on the project, research practice, innovation and open transgressive or subversive artworks. Art focused on subversion of institutional power features as a singular event performed within a particular social relationship, as a critical actionist, engaged, or activist practice. Transgression – literally – refers to: infraction, violation of a law or an order, while in geological terms it implies penetration and expansion of the sea over the mainland. The notion of transgression relates to excess, overrunning or, more precisely, departing the familiar for the unknown, control for freedom. Experimental art was created in different disciplines such as experimental music, experimental film, experimental theater, etc. John Cage’s concept of ‘experimental music’ has been the starting point for new experimental art and artistic practices since 1950. Experimental film (experimental, new, avant-garde or neo-avant-garde cinema) has featured since the Second World War. The concept and term describe a range of filmmaking styles which are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking and entertainment-oriented cinematography. In the second and third part of the essay, I will present an analysis of the experimental films of the artists the OHO group and Neša Paripović. Article received: December 2, 2017; Article accepted: December 18, 2017; Published online: April 15, 2018; Original scholarly paper How to cite this article: Šuvaković, Miško. "Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory." AM Journal of Art and Media Studies no 15 (2018): . doi: 10.25038/am.v0i15.225

scholarly journals Brain Musics: History, Precedents, and Commentary on Whalley, Mavros and Furniss

2015 ◽  
Vol 9 (3-4) ◽  
pp. 277 ◽  
Author(s):  
Miguel Ortiz ◽  
Mick Grierson ◽  
Atau Tanaka
Keyword(s):  
Neural Network ◽  
Artificial Neural Network ◽  
Musical Performance ◽  
Eeg Signals ◽  
Live Electronics ◽  
Broad Area ◽  
Direct Mapping ◽  
Challenges And Opportunities ◽  
History Of ◽  
Small Ensemble

<p>Whalley, Mavros and Furniss (this issue) explore questions of agency, control and interaction, as well as the embodied nature of musical performance in relation to the use of human-computer interaction through the work <em>Clasp Together (beta) </em>for small ensemble and live electronics. The underlying concept of the piece focuses on direct mapping of a human neural network (embodied by a performer within the ensemble) to an artificial neural network running on a computer. With our commentary, we contextualize the work by offering a brief history of music that uses brainwaves. We review the use of EEG signals for musical performance and point at precedents in EEG-based musical practice. We hope to more clearly situate <em>Clasp Together (beta)</em> in the broad area of Brain Computer Musical Interfaces and discuss the challenges and opportunities that these technologies offer for composers.</p>

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