In Between as a Permanent Status: Milan Adamčiak's Version of Intermedia

2009 ◽  
Vol 19 ◽  
pp. 31-34 ◽  
Author(s):  
Jozef Cseres
Keyword(s):  
Large Body ◽  
Electronic Media ◽  
Electroacoustic Music ◽  
Musical Instruments ◽  
Live Electronics ◽  
Visual Artist ◽  
Action Music ◽  
Musique Concrete

Milan Adamčiak is a Slovak composer, cellist and musicologist; creator of acoustic objects, installations and unconventional musical instruments; a performer, visual artist and experimental poet. Traditionally trained but influenced by Cagean and Fluxus poetics, he created from the late 1960s until the mid-1990s a large body of work that transgressed the conventional definitions of art creativity and quickly moved toward the concepts of opera aperta, action music and various intermedia forms. At the same time he was experimenting with electronic media, he created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. The author considers Adamčiak's intermedia in the context of philosophical and aesthetical thought, revealing mutual correspondences, apparent as well as hidden.

The Analysis of Electroacoustic Music: from sources to invariants

2006 ◽  
Vol 11 (2) ◽  
pp. 101-112 ◽  
Author(s):  
BRUNO BOSSIS
Keyword(s):  
Real Time ◽  
Electroacoustic Music ◽  
Musical Instruments ◽  
Documentary Sources ◽  
Synthetic Vision ◽  
Technological Context ◽  
Systematic Musicology ◽  
Many Sources ◽  
Musical Genres

The musicologist is confronted with many situations during the analysis of electroacoustic music, whether on support media, mixed, or real-time. Musical genres and styles vary greatly, and the collection of electronic musical instruments has also proven to be very heterogeneous. The intrinsic characteristics of the electroacoustic parts and their scoring create serious limitations. Furthermore, many sources remain inaccessible or are already lost. Thus the preoccupation with documentary sources related to the acts of creation, interpretation, and technological context becomes more and more pressing. It is now essential to formulate a synthetic vision of this music, which has existed for half a century, and to pursue the search for invariants. This work must be based on a rigorous methodology that has yet to be developed. More generally speaking, the goal is to establish the terms and conditions of a systematic musicology of electroacoustics.

Mitterer, Wolfgang (1958--)

2018 ◽  
Author(s):  
Aaron Cassidy
Keyword(s):  
Chamber Music ◽  
Performing Arts ◽  
Electroacoustic Music ◽  
Live Electronics ◽  
Performance Events ◽  
And Performance ◽  
Orchestra Music ◽  
And Function ◽  
Granular Layers ◽  
The University

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

Afterword

2018 ◽  
Author(s):  
Simon Frith
Keyword(s):  
Social Context ◽  
Complex Networks ◽  
Musical Instrument ◽  
Electronic Media ◽  
Musical Instruments ◽  
Social Content ◽  
The Social ◽  
Sociological Studies ◽  
Academic Study

The afterword comments on the central concepts of the book. It begins with a critique of traditional musicology and of sociological studies of music, the former examining musical content with insufficient focus on social content and the latter doing the reverse. In reviewing the book’s chapters, the afterword points to the complex networks of commerce and art that are present in all pieces of music. The study of musical instruments is also crucial in this volume, as the authors examine the interaction between instrument and instrumentalist and how the concept of “musical instrument” has expanded to include electronic media. The afterword also points to the book’s focus on the social context of both instrument and genre. It concludes by pointing out the synthesis of musical pleasure and serious academic study achieved by the volume.

scholarly journals Inaudible Visitors: Theories of sound reproduction in the studio practice of Pierre Schaeffer

2017 ◽  
Vol 22 (2) ◽  
pp. 161-171 ◽  
Author(s):  
Reuben de Lautour
Keyword(s):  
Critical Time ◽  
Electroacoustic Music ◽  
Defining Moments ◽  
Sound Reproduction ◽  
Decisive Influence ◽  
Time Period ◽  
Studio Practice ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

In this article I explore the relationship of theories of sound reproduction formulated in the decades between the two world wars with the studio practice of Pierre Schaeffer. I argue that the 1920s–1930s was a period of significance for sound-based arts, and compare it to analogous defining moments in cinema and art photography. After examining the legacy of this period, I turn to one specific moment from Schaeffer’s early studio experiments with musique concrète in April 1948, showing how the theories of sound reproduction formed in the earlier time period informed practical decisions in Schaeffer’s working methods at a critical time when his ideas about the sound object were forming. Schaeffer’s studio practice and, to an extent, his theories of listening thus carry traces of this prior sonic culture. Considering the decisive influence of Schaeffer’s writings and teaching on later generations and developments in electroacoustic music, I speculate on the proliferation of these ideas beyond Schaeffer’s immediate circle, focusing in particular on soundscape composition. The title of this article is a reference to James Lastra’s ‘invisible auditor’, a term he coined to characterise the approach to sound reproduction discussed in this article (Lastra 2000: 159).

Theoretical Frameworks in Brazilian Electroacoustic Music

2016 ◽  
Vol 21 (2) ◽  
pp. 97-105 ◽  
Author(s):  
Rodrigo Cicchelli Velloso ◽  
Frederico Barros ◽  
Orlando Scarpa Neto ◽  
Cláudio Bezz ◽  
Jorge Ardila
Keyword(s):  
Final Stage ◽  
Computer Music ◽  
Electroacoustic Music ◽  
Oppositional Culture ◽  
Theoretical Frameworks ◽  
Clear Cut ◽  
Final Note ◽  
Musique Concrete ◽  
Musical Creation

This article is the final stage of seven years of research dedicated to understanding the theoretical backgrounds of Brazilian electroacoustic music in which a significant amount of data was gathered from a series of questionnaires and interviews with Brazilian composers. Our research focuses mainly on the influence of what we have called the historical matrices: musique concrète, elektronische musik and computer music. We were able to determine to some extent how much each of these matrices weigh on the poetic and poiesis of the Brazilian electroacoustic production. We were also able to shed some light on how (and if) Brazilian composers relate to these matrices aesthetically and if their relation to them is merely technical, as well as trying to understand how clear cut the borders are between these two aspects of musical creation. The concepts of oppositional culture (Ogbu 1978) and established and outsiders (Elias and Scotson 2000) also helped us understand the dynamics between academia and a certain anti-academic stance seen in some composers of the genre. Using these same concepts, we elaborate, in a final note, on some brief comments about a newer generation of composers who, due to various aspects, were filtered out during the early methodological stages.

A history of sampling

1996 ◽  
Vol 1 (1) ◽  
pp. 3-11 ◽  
Author(s):  
HUGH DAVIES
Keyword(s):  
Musical Instruments ◽  
History Of ◽  
Musique Concrete

Since the mid-1980s commercial digital samplers have become widespread. The idea of musical instruments which have no sounds of their own is, however, much older, not just in the form of analogue samplers like the Mellotron, but in ancient myths and legends from China and elsewhere. This history of both digital and analogue samplers relates the latter to the early musique concrète of Pierre Schaeffer and others, and also describes a variety of one-off systems devised by composers and performers.

SPACES AND PLACES: AN INTERVIEW WITH SIMON EMMERSON

Tempo ◽  
2009 ◽  
Vol 63 (247) ◽  
pp. 19-23
Author(s):  
John Palmer
Keyword(s):  
Great Britain ◽  
Electroacoustic Music ◽  
Music Technology ◽  
Live Electronics ◽  
Technology And Innovation ◽  
The Subject

Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following 28 years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; he has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). In addition to extensive writings on the subject, he was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a Trustee of its successor organisation ‘Sound and Music’. This interview took place in July 2008.

scholarly journals The Influence of Recording Technologies on the Early Development of Electroacoustic Music

2003 ◽  
Vol 13 ◽  
pp. 5-10 ◽  
Author(s):  
Peter Manning
Keyword(s):  
Early Development ◽  
Digital Technology ◽  
Electroacoustic Music ◽  
Compositional Process ◽  
Creative Development ◽  
Key Aspects ◽  
Musique Concrete ◽  
Formative Years

From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik

Rethinking Collaboration in Networked Music

2012 ◽  
Vol 17 (1) ◽  
pp. 28-35 ◽  
Author(s):  
Nicolas Makelberge
Keyword(s):  
Group Dynamics ◽  
Electroacoustic Music ◽  
Musical Instruments ◽  
Current Trends ◽  
The Social ◽  
Music Research ◽  
The 1950S ◽  
Collective Creation ◽  
Networked Music

This paper argues that today's sampling culture, emerging out of pioneering efforts in electroacoustic music in the 1950s carries a similar ethos of autonomy found in many significant advances in music instrumentation throughout history. By looking at the evolution of musical instruments, the author hopes to address these continuous effort towards autonomy, which, if proves legitimate should be of great concern for networked music research that deals with all forms of music praxis of varying reciprocity and group dynamics. By further looking into what sets collaboration apart from cooperation and collective creation, and elaborating on the ‘social’ of music, this paper hopes to extend the discourse on current trends of accessing, shaping and sharing music in solitude, from something often seen as unfortunate and anti-social, to something less so.

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