Living Electronic Music
Living Electronic Music

Author: Simon Emmerson

Publisher: Ashgate Publishing, Ltd.

Published: 2007

Total Pages: 220

ISBN-13: 9780754655480

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Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials but others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.

Living Electronic Music
Living Electronic Music

Author: Simon Emmerson

Publisher: Routledge

Published: 2017-09-29

Total Pages: 337

ISBN-13: 1351217844

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Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials, some created beforehand in a studio, some coded 'on the fly', others 'plundered' from the widest possible range of sources. But others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. Some composers claim they just 'respond' to sound and compose 'with their ears', while others use models and analogies of previously 'non-musical' processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange 'dance' of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.

Electronic and Experimental Music
Electronic and Experimental Music

Author: Thom Holmes

Publisher: Routledge

Published: 2015-10-08

Total Pages: 1080

ISBN-13: 131741022X

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Electronic and Experimental Music: Technology, Music, and Culture provides a comprehensive history of electronic music, covering key composers, genres, and techniques used in analog and digital synthesis. This textbook has been extensively revised with the needs of students and instructors in mind. The reader-friendly style, logical organization, and pedagogical features of the fifth edition allow easy access to key ideas, milestones, and concepts. New to this edition: • A companion website, featuring key examples of electronic music, both historical and contemporary. • Listening Guides providing a moment-by-moment annotated exploration of key works of electronic music. • A new chapter—Contemporary Practices in Composing Electronic Music. • Updated presentation of classic electronic music in the United Kingdom, Italy, Latin America, and Asia, covering the history of electronic music globally. • An expanded discussion of early experiments with jazz and electronic music, and the roots of electronic rock. • Additional accounts of the vastly under-reported contributions of women composers in the field. • More photos, scores, and illustrations throughout. The companion website features a number of student and instructor resources, such as additional Listening Guides, links to streaming audio examples and online video resources, PowerPoint slides, and interactive quizzes.

The Music Producer’s Survival Guide
The Music Producer’s Survival Guide

Author: Brian M. Jackson

Publisher: Taylor & Francis

Published: 2018-03-09

Total Pages: 686

ISBN-13: 1315519755

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A music-career book like no other, The Music Producer’s Survival Guide offers a wide-ranging, exploratory, yet refreshing down-to-earth take on living the life of the independent electronic music producer. If you are an intellectually curious musician/producer eager to make your mark in today’s technologically advanced music business, you’re in for a treat. This new edition includes industry and technological updates, additional interviews, and tips about personal finances, income, and budgets. In this friendly, philosophical take on the art and science of music production, veteran producer, engineer, and teacher Brian Jackson shares clear, practical advice about shaping your own career in today’s computer-centric "home-studio" music world. You’ll cover music technology, philosophy of music production, career planning, networking, craft and creativity, the DIY ethos, lifestyle considerations, and much more. Brian’s thoughtful approach will teach you to integrate your creative passion, your lifestyle, and your technical know-how. The Music Producer’s Survival Guide is the first music-production book to consider the influence of complexity studies and chaos theory on music-making and career development. It focuses on practicality while traversing a wide spectrum of topics, including essential creative process techniques, the TR-808, the proliferation of presets, the butterfly effect, granular synthesis, harmonic ratios, altered states, fractal patterns, the dynamics of genre evolution, and much more. Carving out your niche in music today is an invigorating challenge that will test all your skills and capacities. Learn to survive—and thrive—as a creative-technical professional in today’s music business, with the help of Brian Jackson and The Music Producer’s Survival Guide!

Bodily Expression in Electronic Music
Bodily Expression in Electronic Music

Author: Deniz Peters

Publisher: Routledge

Published: 2012-02-06

Total Pages: 285

ISBN-13: 1136504877

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In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers’, performers’, improvisers’ and listeners’ bodies, as well as the works’ and technologies’ figurative bodies as a rich source of expressive articulation. Bringing together humanities’ scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body’s role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves.

Timbre Composition in Electroacoustic Music
Timbre Composition in Electroacoustic Music

Author: Simon Emmerson

Publisher: Routledge

Published: 2019-07-23

Total Pages: 270

ISBN-13: 1134358776

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First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a creative dialogue with designers and builders, who are usually programmers in the contemporary world. The collection as a whole will help to demonstrate the great potential for exchange between the multidisciplinary approaches to music.

Rave On
Rave On

Author: Matthew Collin

Publisher: University of Chicago Press

Published: 2018-10-09

Total Pages: 387

ISBN-13: 022659548X

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Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today’s mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres—from house, techno, and garage to drum and bass, dubstep, and psytrance—have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from—and at times into—corporatization in China; and even undergirding a veritable “independent republic” in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.

Popular Polish Electronic Music, 1970–2020
Popular Polish Electronic Music, 1970–2020

Author: Ewa Mazierska

Publisher: Routledge

Published: 2020-12-31

Total Pages: 235

ISBN-13: 0429575173

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Popular Polish Electronic Music, 1970–2020 offers a cultural history of popular Polish electronic music, from its beginning in the late 1960s/early 1970s up to the present day, in the context of Polish economic, social and political history, and the history of popular music in this country. From the perspective of production, scene, industry and consumption, the volume considers the issue of access to electronic instruments in the 1970s and 1980s, and the variety of inspirations, such as progressive rock and folk music, that have contributed to the development of Polish electronic music as it is known today. The widespread contribution of Polish electronic music to film is also considered. This is a valuable resource for scholars and researchers of electronic music, popular music and (Eastern) European music and culture.

The Routledge Research Companion to Electronic Music: Reaching out with Technology
The Routledge Research Companion to Electronic Music: Reaching out with Technology

Author: Simon Emmerson

Publisher: Routledge

Published: 2018-05-16

Total Pages: 504

ISBN-13: 1317043596

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The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of 'reaching out' and 'connecting together' – and in effect showing that there is emerging a different kind of 'global music'.