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Electroacoustic music includes several different sonic and musical genres or musical techniques.[vague] Electroacoustic music is a diverse field.[vague] 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 Bourges International Electroacoustic Music Festival (Bourges, France), 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 the Sonic Arts Network in the UK. The Computer Music Journal and Organised Sound are the two most important journals dedicated to electroacoustic studies, while several national associations produce print and electronic publications.
[edit] Questions of definitionAll electroacoustic music is made with electronic technology. Many works in the field are concerned with those aspects of sonic design that remain inaccessible to either traditional or electronic musical instruments played live[citation needed]. Some electroacoustic compositions make use of sounds not available to typical acoustic instruments, such as those used in a traditional orchestra. These sounds sources may be prerecorded sounds, transformed sound recordings, or synthesized timbres[citation needed]. Some electroacoustic music places less emphasis on the “traditional” concerns of score-based music — rhythm, metre, harmony, and melody — and instead tends to explore the interplay of gesture and texture[citation needed]. This interaction between sounds and the ways they are transfigured over time has been termed "spectromorphology" by the composer Denis Smalley (Smalley 1997). Electroacoustic compositions can also utilise the manipulation of sound in space, using various loudspeaker based spatialisation techniques[citation needed]. [edit] HistoryThe beginning of the development of electronic music has been traced back to "the invention of the valve [vacuum tube] in 1906" (Eimert 1957, 2). Most standard music history and reference texts date the formal birth of electroacoustic music to the late 1940s and early 1950s, and in particular to the work of two groups of composers whose aesthetic orientations were radically opposed. The Musique concrète group was centered in Paris and was pioneered by Pierre Schaeffer; their music was based on the juxtaposition and transformation of natural sounds (meaning real, recorded sounds, not necessarily those made by natural forces) recorded to tape or disc. 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 (Eimert 1957, 2; Morawska-Büngeler 1988, 11–13; Ungeheuer 1992, 13). 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" (Eimert 1957, 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. While serialism has been largely abandoned in electroacoustic circles, 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 (Morawska-Büngeler 1988, 17; Stockhausen 1996, 93–94). Isolated examples of the use of electroacoustic and prerecorded music exist that predate Schaeffer’s first experiments in 1948. Ottorino Respighi used an (acoustical) phonograph recording of a nightingale’s song in his orchestral work The Pines of Rome in 1924, before the introduction of electrical record players; experimental filmmaker Walter Ruttmann created Weekend, a sound collage on an optical soundtrack in 1930; and John Cage used phonograph recordings of test tones mixed with live instruments in Imaginary Landscape no. 1 (1939), among other examples. In the first half of the Twentieth Century, a number of writers also advocated the use of electronic sound sources for composition, notably Ferruccio Busoni, Luigi Russolo, and Edgard Varèse, and electronic performing instruments were invented, such as the Theremin in 1919, and the Ondes Martenot in 1928. [edit] Alternative terminology
The term acousmatic music is often used to refer to pieces which consist solely of prerecorded sound — a form of matured musique concréte. There are dozens of other terms that are either synonymous with “electroacoustic music,” or that describe super- or subsets, offshoots, or later parallel disciplines from the genre. These include: sonic, audio, or - most commonly - sound art; computer music; electronic music; microsound; lowercase; soundscape; radiophonics; live electronics or electroacoustic improvisation; musique concrète; field recording; experimental electronica. [edit] Electroacoustic techniques
Main article: Audio feedback Audio feedback is a special kind of feedback which occurs when a sound loop exists between an audio input (for example, a microphone or guitar pickup) and an audio output (for example, a loudspeaker). While audio feedback is usually undesirable, it has entered into musical history as a desired effect beginning in the early 1960s. Although it is now well associated with the history of rock music where electric guitar players such as Pete Townshend and Jimi Hendrix have used it extensively, it was the contemporary American composer Robert Ashley who first used feedback as sound material in his work Wolfman (1964). Main article: Circuit bending Circuit bending is the creative short-circuiting of low voltage, battery-powered electronic audio devices such as guitar effects, children's toys and small 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. [edit] Notable electroacoustic music composersA more comprehensive List of acousmatic-music composers and electroacoustic composers, both living and dead. [edit] See also
[edit] References
[edit] Further reading
[edit] External links
National Associations:
(Also see listings on the CEC’s Wikipedia page) Other organisations:
Resources:
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