Glitch (music)

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Glitch
Stylistic origins

Glitch is a genre of electronic music that emerged in the 1990s which is distinguished by the deliberate use of glitch-based audio media and other sonic artifacts.[1]

The glitching sounds featured in glitch tracks usually come from

vinyl record hiss or scratches, and system errors. Sometimes devices that were already broken are used, and sometimes devices are broken expressly for this purpose.[2] In Computer Music Journal, composer and writer Kim Cascone classified glitch as a subgenre of electronica and used the term post-digital to describe the glitch aesthetic.[1]

History

The origins of the glitch

electronic soundtrack for the 1994 video game Streets of Rage 3 used automatically randomized sequences to generate "unexpected and odd" experimental sounds.[5]

Glitch originated as a distinct movement in Germany and Japan during the 1990s,[6] with the musical work and labels (especially Mille Plateaux) of Achim Szepanski in Germany,[7][8] and the work of Ryoji Ikeda in Japan.[6]

Nuno Canavarro's Plux Quba, released in 1988, incorporated pristine electroacoustic sounds that resembled early glitch. Oval's Wohnton, produced in 1993, helped define the genre by adding ambient aesthetics.[9]

The earliest uses of the term glitch as related to music include electronic duo Autechre's song "Glitch" (1994) and experimental electronic group ELpH's album Worship the Glitch (1995).

Production techniques

In the latter half of the 20th century, the experimental music that served as the precursor to glitch contained distortions that were often produced by manual manipulation of audio media. This came in the form of

Monomachine
.

See also

References

  1. ^ a b "The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, and ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market and is, therefore, removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage." THE AESTHETICS OF FAILURE: 'Post-Digital' Tendencies in Contemporary Computer Music, Kim Cascone, Computer Music Journal 24:4 Winter 2000 (MIT Press)
  2. ^ Cascone, Kim (2004). "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". In Cox, Christoph; Warner, Daniel (eds.). Audio Culture: Readings in Modern Music. Continuum Books. pp. 392–398.
  3. ^ Flora Dennis. "Russolo, Luigi." Grove Music Online. Oxford Music Online. Oxford University Press. Web.
  4. ^ 1995 Interview with Nicolas Collins, by Brian Duguid
  5. ^ Horowitz, Ken (February 5, 2008). "Interview: Yuzo Koshiro". Sega-16. Archived from the original on 21 September 2008. Retrieved 6 August 2011.
  6. ^
    A&C Black
  7. ^ "First championed by the ideological German techno figure Achim Szepanski and his stable of record labels—Force Inc, Mille Plateaux, Force Tracks, Ritornell—this tight-knit scene of experimental artists creating cerebral hybrids of experimental techno, minimalism, digital collage, and noise glitches soon found themselves being assembled into a community."Allmusic
  8. ^ "Random Inc.", "Allmusic"
  9. ^ "Although Oval are perhaps more well-known for how they make their music than for the music they actually make, the German experimental electronic trio have provided an intriguing update of some elements of avant-garde composition in combination with techniques of digital sound design.[...]" Allmusic
  10. ^ Stuart, Caleb. “Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval”. Leonardo Music Journal 13 (2003): 47–52. Web.
  11. ^ Kyle Gann. "Collins, Nicolas." Grove Music Online. Oxford Music Online. Oxford University Press. Web.

Further reading

  • Andrews, Ian, Post-digital Aesthetics and the return to Modernism, MAP-uts lecture, 2000, available at author's website.
  • Bijsterveld, Karin and Trevor J. Pinch. "'Should One Applaud?': Breaches and Boundaries in the Reception of New Technology in Music." Technology and Culture. Ed. 44.3, pp. 536–559. 2003.
  • Byrne, David. "What is Blip Hop?" Luakabop, 2002. Available here. Archived 2014-10-28 at the Wayback Machine
  • Collins, Adam, "Sounds of the system: the emancipation of noise in the music of Carsten Nicolai", Organised Sound, 13(1): 31–39. 2008. Cambridge University Press.
  • Collins, Nicolas. Editor. "Composers inside Electronics: Music after David Tudor." Leonardo Music Journal. Vol. 14, pp. 1–3. 2004.
  • Krapp, Peter, Noise Channels: Glitch and Error in Digital Culture. Minneapolis: University of Minnesota Press 2011.
  • Prior, Nick, "Putting a Glitch in the Field: Bourdieu, Actor Network Theory and Contemporary Music", Cultural Sociology, 2: 3, 2008: pp. 301–319.
  • Thomson, Phil, "Atoms and errors: towards a history and aesthetics of microsound", Organised Sound, 9(2): 207–218. 2004. Cambridge University Press.
  • Sangild, Torben: "Glitch—The Beauty of Malfunction" in Bad Music. Routledge (2004,
    ISBN 0-415-94365-5) [1]
  • Young, Rob: "Worship the Glitch", The Wire 190/191 (2000)
  • Noah Zimmerman, "Dusted Reviews, 2002"
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