Electroacoustic music

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Electronic music
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Electroacoustic music is a

Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music
were all explored. Practical electronic music instruments began to appear in the early 20th century.

Tape music

See also: Musique concrète

Tape music is an integral part of

Columbia-Princeton Electronic Music Center, where in 1959 he composed the influential piece Leiyla and the Poet.[3]

Composer

University of Illinois, Urbana.[4]

Electronic music

See also: Electronic music

In Cologne, elektronische Musik, pioneered in 1949–51 by the composer Herbert Eimert and the physicist Werner Meyer-Eppler, was based solely on electronically generated (synthetic) sounds, particularly sine waves.[5][6][7] The beginning of the development of electronic music has been traced back to "the invention of the valve [vacuum tube] in 1906".[5] The precise control afforded by the studio allowed for what Eimert considered to be the subjection of everything, "to the last element of the single note", to serial permutation, "resulting in a completely new way of composing sound";[8] in the studio, serial operations could be applied to elements such as timbre and dynamics. The common link between the two schools is that the music is recorded and performed through loudspeakers, without a human performer. The majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds, and the schism between Schaeffer's and Eimert's approaches has been overcome, the first major example being Karlheinz Stockhausen's Gesang der Jünglinge of 1955–56.[9][10]

Circuit bending

synthesizers to create new musical instruments and sound generators. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments.[11]

Examples of notable works

Electronic and electroacoustic instruments

Centers, associations and events for electroacoustics and related arts

Important centers of research and composition can be found around the world, and there are numerous conferences and festivals which present electroacoustic music, notably the International Computer Music Conference, the international conference on New Interfaces for Musical Expression, the Electroacoustic Music Studies Conference, and the Ars Electronica Festival (Linz, Austria).

A number of national associations promote the art form, notably the Canadian Electroacoustic Community (CEC) in Canada, the Society for Electro-Acoustic Music in the United States (SEAMUS) in the US, the Australasian Computer Music Association in Australia and New Zealand, and Sound and Music (previously the Sonic Arts Network) in the UK. The Computer Music Journal and Organised Sound are the two most important peer-reviewed journals dedicated to electroacoustic studies, while several national associations produce print and electronic publications.

Festivals

See also: List of electronic music festivals and Category:Electroacoustic music festivals

There have been a number of festivals that feature electroacoustic music. Early festivals such as Donaueschingen Festival, founded in 1921, were some of the first to include electroacoustic instruments and pieces. This was followed by ONCE Festival of New Music in the 1950s, and since the 1960s there has been a growth of festivals that focus exclusively on electroacoustic music.

Conferences and symposiums

Alongside paper presentations, workshops and seminars, many of these events also feature concert performances or sound installations created by those attending or which are related to the theme of the conference / symposium.

See also

References

  1. ^ Anon.a.
  2. ^ Anon.b.
  3. ^ Holmes 2008, 153–154, 157.
  4. ^ Chaudron n.d.
  5. ^ a b Eimert 1957, 2.
  6. ^ Morawska-Büngeler 1988, 11–13.
  7. ^ Ungeheuer 1992, 13.
  8. ^ Eimert 1957, 8.
  9. ^ Morawska-Büngeler 1988, 17.
  10. ^ Stockhausen 1996, 93–94.
  11. ^ Collins 2006, [page needed].
  12. ^ Midgette 2004.

Works cited

  • Anon.a. Avant-Garde » Modern Composition » Tape Music at
    AllMusic
    . Retrieved 25 May 2022.
  • Anon.b. Electro-Acoustic: Overview at
    AllMusic
    . Retrieved 25 May 2022.
  • Chaudron, André. n.d. "Williams Mix" (Accessed 9 July 2011).
  • Collins, Nicolas. 2006. Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge.
    ISBN 0-415-97592-1
    (pbk).
  • Eimert, Herbert. 1957. "What is Electronic Music?" Die Reihe 1 [English edition] ("Electronic Music"): 1–10.
  • Holmes, Thom. 2008. "Early Synthesizers and Experimenters". In his Electronic and Experimental Music: Technology, Music, and Culture, third edition. New York: Routledge.
    ISBN 978-0-415-95782-3
    (pbk), (accessed 4 June 2011).
  • Midgette, Anne. 2004. "Noises Off! Making a Boombox Cacophony". The New York Times (20 December).
  • Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. J. Tonger Musikverlag.
  • Stockhausen, Karlheinz. 1996. "Electroacoustic Performance Practice", translated by Jerome Kohl. Perspectives of New Music 34, no. 1 (Fall): 74–105.
  • Ungeheuer, Elena. 1992. "Wie die elektronische Musik „erfunden" wurde...: Quellenstudie zu Werner Meyer-Epplers musikalische Entwurf zwischen 1949 und 1953." Kölner Schriften zur Neuen Musik 2, edited by
    ISBN 3-7957-1891-0
    .

Further reading

External links

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