Jazz, Live Electronic Music, and Ambient Music

2012 ◽  
pp. 416-458
Keyword(s):  
Electronic Music ◽  
Live Electronic Music ◽  
Ambient Music

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 Emergent timbre and extended techniques in live-electronic music: an analysis of desdobramentos do contínuo performed by audio descriptors

2018 ◽  
Vol 18 (1) ◽  
pp. 16-30 ◽  
Author(s):  
Danilo Augusto de Albuquerque Rossetti ◽  
William Teixeira da Silva ◽  
Jônatas Augusto Manzolli
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Extended Techniques ◽  
Musical Analysis ◽  
Live Electronics ◽  
Real Time Processing ◽  
Time Processing ◽  
Spectral Activity ◽  
Live Electronic Music ◽  
Computer Aided

In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-electronics is addressed concerning instrumental extended techniques, electroacoustic tape sounds, real-time processing, and their interaction. This is part of a broad research about the computer-aided musical analysis of electroacoustic mu- sic. The objective of the analysis of this piece is to understand the spectral activity of the emergent sound structures, in terms of which events produce huge timbre variations, and to identify timbre subtle nuances that are not percep- tible on a first listen of the work. We conclude comparing the analyses results to the compositional hypotheses pre- sented in the initial sections. 

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.

David Tudor: Live Electronic Music

2004 ◽  
Vol 14 ◽  
pp. 105-105
Author(s):  
Ron Kuivila
Keyword(s):  
Electronic Music ◽  
Live Electronic Music

Why Is(n’t) Ambient so White?

2021 ◽  
Author(s):  
Victor Szabo
Keyword(s):  
Electronic Music ◽  
White Men ◽  
Feedback Loops ◽  
White Masculinity ◽  
Musical Production ◽  
Ambient Music ◽  
Disembodied Mind ◽  
Media Discourses

This chapter investigates why white and light-skinned artists have long dominated representations of ambient music, a popular (sub)genre of electronic music and style of EDM, within anglophone EDM scenes and media discourses. It explores how early discourses on ambient implicitly shaped the genre’s aesthetics around idealizations of hip highbrow and high-middlebrow white masculinity. Starting in the 1970s and 80s, these discourses tacitly disregarded the relevance of genres racialized as non-white to ambient’s ideals of aesthetic experimentation, affective detachment, cerebral introspection, and physical ease. EDM-oriented discourses reified the putative whiteness of this formation in the early 1990s by repeatedly attaching the ambient label to the expressions of white men while describing the music, by way of a racialized and gendered mind-body binary, as the “beatless” emanation of disembodied mind(s), rather than of individuals. This history illuminates how popular genres become racialized through feedback loops of musical production and discursive categorization. In the course of tracing this history, the author proposes that a discursive framework of “strategic anti-genre-essentialism,” which positions genres as processes rather than categories, may help to undermine essentialist assumptions about music and race without dismissing them.

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