Difference between revisions of "Electroacoustic music"
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The terms '''Electroacoustics''' and its sub-discipline '''Electroacoustic music''' have been used to describe several different sonic and musical genres or musical techniques. | The terms '''Electroacoustics''' and its sub-discipline '''Electroacoustic music''' have been used to describe several different sonic and musical genres or musical techniques. | ||
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==History== | ==History== | ||
− | Many 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]], ''[[Electronic Music|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. The precise control afforded by the studio allowed for what Eimert considered to be an electronic extension and perfection of [[serialism]]; 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 '' | + | Many 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]], ''[[Electronic Music|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. The precise control afforded by the studio allowed for what Eimert considered to be an electronic extension and perfection of [[serialism]]; 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. |
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. | 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. | ||
− | == | + | ==Composers, studios, events== |
− | + | <div class="dpl" style="-moz-column-count:4; -webkit-column-count:4; column-count:4;"> | |
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<DynamicPageList> | <DynamicPageList> | ||
category = Electroacoustic music | category = Electroacoustic music | ||
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</div> | </div> | ||
− | + | ; Further notable electroacoustic-music composers | |
<div class="dpl" style="-moz-column-count:4; -webkit-column-count:4; column-count:4;"> | <div class="dpl" style="-moz-column-count:4; -webkit-column-count:4; column-count:4;"> | ||
* [[Rodolfo Acosta]] | * [[Rodolfo Acosta]] | ||
* [[Mathew Adkins]] | * [[Mathew Adkins]] | ||
* [[Klaus Ager]] | * [[Klaus Ager]] | ||
+ | * [[Savannah Agger]] | ||
* [[Javier Alvarez]] | * [[Javier Alvarez]] | ||
* [[Patrick Ascione]] | * [[Patrick Ascione]] | ||
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* [[Michael von Biel]] | * [[Michael von Biel]] | ||
* [[Boris Blacher]] | * [[Boris Blacher]] | ||
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* [[Konrad Boehmer]] | * [[Konrad Boehmer]] | ||
* [[Michèle Bokanowski]] | * [[Michèle Bokanowski]] | ||
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* [[Herbert Brun|Herbert Brün]] | * [[Herbert Brun|Herbert Brün]] | ||
* [[Karl Gottfried Brunotte]] | * [[Karl Gottfried Brunotte]] | ||
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* [[Christian Calon]] | * [[Christian Calon]] | ||
* [[Jean-Christophe Camps]] | * [[Jean-Christophe Camps]] | ||
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* [[John Chowning]] | * [[John Chowning]] | ||
* [[Darren Copeland]] | * [[Darren Copeland]] | ||
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* [[Marcelle Deschênes]] | * [[Marcelle Deschênes]] | ||
* [[Francis Dhomont]] | * [[Francis Dhomont]] | ||
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* [[Paul Dolden]] | * [[Paul Dolden]] | ||
* [[Stephan Dunkelman]] | * [[Stephan Dunkelman]] | ||
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* [[Jean-Claude Éloy]] | * [[Jean-Claude Éloy]] | ||
* [[Peter Eötvös]] | * [[Peter Eötvös]] | ||
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* [[Bernard Fort]] | * [[Bernard Fort]] | ||
* [[Johannes Fritsch]] | * [[Johannes Fritsch]] | ||
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* [[David C. Johnson]] | * [[David C. Johnson]] | ||
* [[Georg Katzer]] | * [[Georg Katzer]] | ||
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* [[Ernst Krenek]] | * [[Ernst Krenek]] | ||
* [[Philippe Le Goff]] | * [[Philippe Le Goff]] | ||
* [[Daniel Leduc]] | * [[Daniel Leduc]] | ||
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* [[Magnus Lindberg]] | * [[Magnus Lindberg]] | ||
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* [[Otto Luening]] | * [[Otto Luening]] | ||
* [[François-Bernard Mâche]] | * [[François-Bernard Mâche]] | ||
* [[Robert MacKay]] | * [[Robert MacKay]] | ||
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* [[Bruno Maderna]] | * [[Bruno Maderna]] | ||
* [[Mesías Maiguashca]] | * [[Mesías Maiguashca]] | ||
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* [[Toshiro Mayuzumi]] | * [[Toshiro Mayuzumi]] | ||
* [[Olivier Messiaen]] | * [[Olivier Messiaen]] | ||
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* [[Ilhan Mimaroglu]] | * [[Ilhan Mimaroglu]] | ||
* [[Philippe Mion]] | * [[Philippe Mion]] | ||
* [[Adrian Moore]] | * [[Adrian Moore]] | ||
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* [[Robert Normandeau]] | * [[Robert Normandeau]] | ||
* [[Emmanuel Nunes]] | * [[Emmanuel Nunes]] | ||
* [[Gonzalo de Olavide]] | * [[Gonzalo de Olavide]] | ||
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* [[Bernard Parmegiani]] | * [[Bernard Parmegiani]] | ||
* [[Åke Parmerud]] | * [[Åke Parmerud]] | ||
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* [[Zoltán Pongrácz]] | * [[Zoltán Pongrácz]] | ||
* [[Henri Pousseur]] | * [[Henri Pousseur]] | ||
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* [[Steve Reich]] | * [[Steve Reich]] | ||
* [[Carole Rieussec]] | * [[Carole Rieussec]] | ||
* [[Jean-Claude Risset]] | * [[Jean-Claude Risset]] | ||
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* [[Daniel Scheidt]] | * [[Daniel Scheidt]] | ||
* [[Barry Schrader]] | * [[Barry Schrader]] | ||
* [[Claude Schryer]] | * [[Claude Schryer]] | ||
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* [[Denis Smalley]] | * [[Denis Smalley]] | ||
* [[Roger Smalley]] | * [[Roger Smalley]] | ||
* [[Tim Souster]] | * [[Tim Souster]] | ||
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* [[Pete Stollery]] | * [[Pete Stollery]] | ||
* [[Zsigmond Szathmáry]] | * [[Zsigmond Szathmáry]] | ||
Line 143: | Line 111: | ||
* [[Ivan Tcherepnin]] | * [[Ivan Tcherepnin]] | ||
* [[Serge Tcherepnin]] | * [[Serge Tcherepnin]] | ||
+ | * [[Richard Teitelbaum]] | ||
* [[Javier Torres Maldonado]] | * [[Javier Torres Maldonado]] | ||
* [[Gilles Tremblay]] | * [[Gilles Tremblay]] | ||
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* [[Alejandro Vinao]] | * [[Alejandro Vinao]] | ||
* [[Claude Vivier]] | * [[Claude Vivier]] | ||
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* [[Trevor Wishart]] | * [[Trevor Wishart]] | ||
* [[Charles Wuorinen]] | * [[Charles Wuorinen]] | ||
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* [[La Monte Young]] | * [[La Monte Young]] | ||
* [[Hans Zender]] | * [[Hans Zender]] | ||
</div> | </div> | ||
− | == | + | ==Institutions== |
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===National associations=== | ===National associations=== | ||
* [http://www.ina.fr/grm/ GRM] — ''Groupe de recherches musicales'' / Musical Research Group, based in the [[Institut national de l'audiovisuel|National Audiovisual Institute]] (INA) (Paris) | * [http://www.ina.fr/grm/ GRM] — ''Groupe de recherches musicales'' / Musical Research Group, based in the [[Institut national de l'audiovisuel|National Audiovisual Institute]] (INA) (Paris) | ||
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* [[SEAMS]] — Society for Electro Acoustic Music in Sweden | * [[SEAMS]] — Society for Electro Acoustic Music in Sweden | ||
* [http://www.seamusonline.org/ SEAMUS] — Society for Electro-Acoustic Music in the United States | * [http://www.seamusonline.org/ SEAMUS] — Society for Electro-Acoustic Music in the United States | ||
+ | * [http://www.degem.de/ DEGEM] — German Association of Electro-Acoustic Music | ||
===Other institutions=== | ===Other institutions=== | ||
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* [[Audiovisual tools and instruments]] | * [[Audiovisual tools and instruments]] | ||
* [[Electronic art music]] | * [[Electronic art music]] | ||
− | * [http://www2.ak.tu-berlin.de/Studio/EMDoku/Vorwort-E.html The International Documentation of Electroacoustic Music] | + | * [http://www2.ak.tu-berlin.de/Studio/EMDoku/Vorwort-E.html The International Documentation of Electroacoustic Music]. [http://www.emdoku.de/EMIntro-E.html] |
* http://www.amazings.com/featuresnews.html | * http://www.amazings.com/featuresnews.html | ||
* [http://www.mti.dmu.ac.uk/EARS/ EARS] — the ElectroAcoustic Resource Site | * [http://www.mti.dmu.ac.uk/EARS/ EARS] — the ElectroAcoustic Resource Site | ||
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* [http://www.sonus.ca SONUS] — The CEC’s online listening library (jukebox) of 2000+ electroacoustic works | * [http://www.sonus.ca SONUS] — The CEC’s online listening library (jukebox) of 2000+ electroacoustic works | ||
* [http://ressources.electro.free.fr resources.electro] Electroacoustic resource site (French) | * [http://ressources.electro.free.fr resources.electro] Electroacoustic resource site (French) | ||
+ | * [http://acousmata.com Thomas Patteson's blog Acousmata] | ||
+ | * [http://https://www.emdoku.de/de EMdoku] — International Documentation of Electroacoustic Music | ||
+ | |||
+ | ==Literature== | ||
+ | |||
+ | ===Books=== | ||
+ | |||
+ | * Enore Zaffiri, ''Due scuole di musica elettronica in Italia'', Milan: Silva, 1968, 137 pp. {{it}} | ||
+ | |||
+ | * Terence Dwyer, ''[[Media:Dwyer_Terence_Making_Electronic_Music_A_Course_for_Schools_1975.pdf|Making Electronic Music: A Course for Schools]]'', 3 vols., ills. Eric Tranter, London: Oxford University Press, 1975, 51 & 39 & v+39 pp. Textbook. | ||
+ | |||
+ | * Michel Chion, Guy Reibel, ''[[Media:Chion_Michel_Reibel_Guy_Les_musiques_electroacoustiques_1976.pdf|Les musiques électroacoustiques]]'', Aix-en-Provence: Edisud, and Paris: Institut national de l'audiovisuel (INA), 1976, 339 pp. [http://michelchion.com/books/1-les-musiques-electroacoustiques] {{fr}} | ||
+ | |||
+ | * Herbert A. Deutsch, ''[[Media:Deutsch_Herbert_A_Synthesis_An_Introduction_to_the_History_Theory_and_Practice_of_Electronic_Music_1976.pdf|Synthesis: An Introduction to the History, Theory, & Practice of Electronic Music]]'', Port Washington, NY: Alfred Pub. Co., 1976, xii+140 pp; rev.ed., Sherman Oaks, CA: Alfred Pub. Co., 1985, xi+120 pp. | ||
+ | |||
+ | * Michel Chion, ''[https://monoskop.org/log/?p=21410 La musique du futur: a-t-elle un avenir?]'', Paris: Institut national de l'audiovisuel (INA)/GRM, 1977, 148 pp, [[Media:Chion_Michel_La_musique_du_futur_a-t-elle_un_avenir_1977.pdf|PDF]]. [http://michelchion.com/books/79-la-musique-du-futur-a-t-elle-un-avenir] {{fr}} | ||
+ | |||
+ | * David Ernst, ''[[Media:Ernst_David_The_Evolution_of_Electronic_Music_1977.pdf|The Evolution of Electronic Music]]'', New York: Schirmer, and London: Macmillan, 1977, xl+274 pp. | ||
+ | |||
+ | * Michel Chion, ''[[Media:Chion_Michel_La_musique_electroacoustique_1982.pdf|Les musique électroacoustique: ouvrage de technique musicale]]'', Paris: PUF, 1982, 127 pp. [http://michelchion.com/books/3-la-musique-electroacoustique] {{fr}} | ||
+ | |||
+ | * Barry Schrader, ''[[Media:Schrader_Barry_Introduction_to_Electro-Acoustic_Music_1982.pdf|Introduction to Electro-Acoustic Music]]'', Englewood Cliffs, NJ: Prentice Hall, 1982, xvi+223 pp. | ||
+ | |||
+ | * Michel Chion, ''[[Media:Chion_Michel_Guide_des_objets_sonores_Pierre_Schaeffer_et_la_recherche_musicale.pdf|Guide des objets sonores: Pierre Schaeffer et la recherche musicale]]'', Paris: Buchet/Chastel; Bry-sur-Marne: Institut National de l’Audiovisuel, 1983; repr., 1995, 187 pp. [http://www.michelchion.com/v1/index.php?option=com_content&task=view&id=643&Itemid=62] {{fr}} | ||
+ | ** ''[http://monoskop.org/log/?p=536 Guide To Sound Objects: Pierre Schaeffer and Musical Research]'', trans. John Dack and Christine North, London, 2009, 212 pp. | ||
+ | |||
+ | * Peter Manning, ''Electronic and Computer Music'', New York: Oxford University Press, 1985, 291+[8] pp; 2nd ed., 1993, viii+399 pp; [https://monoskop.org/log/?p=276 rev. & exp. ed.], 2004, x+474 pp; [https://monoskop.org/log/?p=276 4th ed.], 2013, xii+543 pp. | ||
+ | |||
+ | * Simon Emmerson (ed.), ''[http://libgen.rs/book/index.php?md5=72907DE3CBA892F20763AA150F53335E The Language of Electroacoustic Music]'', London: Macmillan, 1986, viii+231 pp; New York: Harwood Academic Publishers, 1986, viii+231 pp. | ||
+ | |||
+ | * Marietta Morawska-Büngeler, ''Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951-1986'', Cologne-Rodenkirchen: P. J. Tonger Musikverlag, 1988, 160+[24] pp. {{de}} | ||
+ | |||
+ | * Robin Julian Heifetz (ed.), ''On the Wires of Our Nerves: The Art of Electroacoustic Music'', Cranbury, NJ: Associated University Presses, 1989, [https://archive.org/details/onwiresofournerv00heif OL]. | ||
+ | |||
+ | * Leigh Landy, [http://monoskop.org/log/?p=610 ''What’s the Matter with Today’s Experimental Music? Organized Sound Too Rarely Heard''], Routledge, 1991, xiv+308 pp. | ||
+ | |||
+ | * Paul Griffiths, [http://monoskop.org/log/?p=3507 ''Modern Music and After: Directions Since 1945'']. Oxford: Oxford University Press, 1995. | ||
+ | |||
+ | * Georgina Born, ''[https://monoskop.org/log/?p=21877 Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avantgarde]'', University of California Press, 1995, xvi+390 pp. | ||
+ | |||
+ | * Curtis Roads, ''[https://monoskop.org/log/?p=1914 The Computer Music Tutorial]'', MIT Press, 1996, 1254 pp. | ||
+ | |||
+ | * Simon Emmerson (ed.), [http://monoskop.org/log/?p=625 ''Music, Electronic Media and Culture''], Aldershot: Ashgate, 2000, ix+252 pp; repr., 2007. | ||
+ | |||
+ | * Thomas Licata (ed.), ''Electroacoustic Music: Analytical Perspectives'', forew. Jean-Claude Risset, Westport, CT: Greenwood Press, 2002, xxiv+242 pp. [https://www.worldcat.org/oclc/48170900 TOC]. | ||
+ | |||
+ | * Michal Rataj, [http://monoskop.org/log/?p=511 ''Electroacoustic Music and Selected Concepts of Radio Art''], 2006. {{cz}}/{{en}} | ||
+ | |||
+ | * Leigh Landy, ''[http://monoskop.org/log/?p=609 Understanding the Art of Sound Organization]'', MIT Press, 2007. | ||
+ | |||
+ | * Martin Iddon, ''[http://library.memoryoftheworld.org/#/book/23fbff6b-1cfb-4cbb-b27c-17628c51baa3 New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez]'', Cambridge University Press, 2013. | ||
+ | |||
+ | * Kees Tazelaar, ''On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands, 1925-1965'', Rotterdam: V2_, 2013, 316 pp; [https://monoskop.org/log/?p=22670 rev ed.], Rotterdam: V2_, 2020, 314 pp. | ||
+ | |||
+ | * Hannah Bosma, ''[https://pure.uva.nl/ws/files/2112113/130696_thesis.pdf The Electronic Cry: Voice and Gender in Electroacoustic Music]'', Amsterdam: University of Amsterdam, 2013, 284 pp. PhD dissertation. | ||
+ | |||
+ | * Rüdiger Esch, ''Electri_City: elektronische Musik aus Düsseldorf 1970-1986'', Berlin: Suhrkamp, 2014, 459 pp. [https://www.suhrkamp.de/ruediger-esch/electri_city_1244.html Publisher]. {{de}} | ||
+ | ** ''Electri_City: The Düsseldorf School of Electronic Music'', trans. Rudi Esch with Rob Keane, London: Overlook Press, 2016, 415 pp. [http://www.overlookpress.com/new/electri-city-the-dusseldorf-school-of-electronic-music.html Publisher]. | ||
+ | |||
+ | * Andrea Valle, Stefano Bassanese (eds.), ''[[Media:Valle Andrea Bassanese Stefano cur Enore Zaffiri Saggi e materiali 2014.pdf|Enore Zaffiri. Saggi e materiali]]'', Venice: DADI - Dip. Arti e Design Industriale: Università IUAVdi Venezia, 2014, 185 pp. [https://www.aimi-musica.org/?page_id=2806 Publisher]. {{it}} | ||
+ | |||
+ | * Andrew J. Nelson, ''[https://muse.jhu.edu/book/60822 The Sound of Innovation: Stanford and the Computer Music Revolution]'', MIT Press, 2015, 248 pp, [https://ccrma.stanford.edu/~aj/TheSoundOfInnovation.htm HTML]. [http://www.thesoundofinnovation.com/ Companion website]. Reviews: [https://muse.jhu.edu/article/613992 Feller] (Computer Music J), [http://neural.it/2016/12/andrew-j-nelson-the-sound-of-innovation-stanford-and-the-computer-music-revolution/ Cianciotta] (Neural). | ||
+ | |||
+ | * David Stubbs, ''[http://library.memoryoftheworld.org/#/book/c7072d00-3795-4b15-b541-2a2e09fb7711 Mars by 1980: The Story of Electronic Music]'', Faber Faber, 2018. | ||
+ | |||
+ | * Jennifer Iverson, ''[http://library.memoryoftheworld.org/#/book/25561b51-8ed9-4f5e-ac2d-7b44bb57dbc2 Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde]'', Oxford University Press, 2018, xi+303 pp. [https://www.oxfordscholarship.com/view/10.1093/oso/9780190868192.001.0001/oso-9780190868192]. Reviews: [https://currentmusicology.columbia.edu/article/iverson-jennifer-2018-electronic-inspirations-technologies-of-the-cold-war-musical-avant-garde-new-york-oxford-university-press/ Gordon] (Current Musicology), [https://www.esm.rochester.edu/integral/33-2019/vagnerova/ Vágnerová] (Integral). | ||
+ | |||
+ | * François J. Bonnet, Bartolomé Sanson (eds.), ''Spectres: Composer l'écoute / Composing Listening'', Rennes: Shelter Press, 2019, 228 pp. [https://shelter-press.org/spectres-1/] [https://inagrm.com/en/showcase/news/604/spectres-composer-lecoute-composing-listening] [https://www.clotmag.com/news/insight-spectres-by-shelter-press] {{fr}},{{en}} | ||
+ | |||
+ | * Jøran Rudi, ''Elektrisk lyd i Norge fra 1930 til 2005'', Oslo: Novus, 2019, 299 pp. [https://novus.mamutweb.com/Shop/Product/Rudi-J%C3%B8ran-Elektrisk-lyd-i-Norge/100787] {{no}} | ||
+ | |||
+ | ===Essays=== | ||
+ | |||
+ | * Herbert Eimert, [https://monoskop.org/images/e/ec/Die_Reihe_1-8_EN_1957-1968.pdf#page=6 "What Is Electronic Music?"], ''Die Reihe'' 1 (1957), pp 1-10. | ||
+ | |||
+ | * E. Ungeheuer, "Wie die elektronische Musik “erfunden” wurde…: Quellenstudie zu Werner Meyer-Epplers musikalische Entwurf zwischen 1949 und 1953", ''Kölner Schriften zur Neuen Musik'' 2, eds. Johannes Fritsch and Dieter Kämper, Mainz: B. Schott’s Söhne, 1992. {{de}} | ||
+ | |||
+ | * Karlheinz Stockhausen, [[Media:Stockhausen Karlheinz 1996 Electroacoustic Performance Practice.pdf|"Electroacoustic Performance Practice"]], trans. Jerome Kohl, ''Perspectives of New Music'' 34:1, Winter 1996, pp 74-105. | ||
+ | |||
+ | ===Bibliographies=== | ||
+ | |||
+ | * Vernon Martin, ''[[Media:Martin_Vernon_Bibliography_of_Writings_on_Electronic_Music_1964.pdf|Bibliography of Writings on Electronic Music]]'', Columbia-Princeton Electronic Music Center, 1964. | ||
+ | |||
+ | * Lowell M. Cross, ''[[Media:Cross_Lowell_A_Bibliography_of_Electronic_Music_1967.pdf|A Bibliography of Electronic Music]]'', Toronto: University of Toronto Press, 1967. | ||
+ | |||
+ | * Ann Phillips Basart, ''[[Media:Basart_Ann_Phillips_Serial_Music_A_Classified_Bibliography_of_Writings_on_Twelve-Tone_and_Electronic_Music_1976.pdf|Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music]]'', Westport, CT: Greenwood Press, 1976. | ||
+ | |||
+ | * [[Media art in Central and Eastern Europe Bibliography#Electroacoustic_music|Electroacoustic music in Central and Eastern Europe: Bibliography]], ''Monoskop'', 2004ff. | ||
+ | |||
+ | ==See also== | ||
+ | * Electroacoustic music in [[Media_art_in_Central_and_Eastern_Europe#Electroacoustic_music|CEE]], [[Germany#Electroacoustic_music|East Germany]], [[Poland#Electroacoustic music|Poland]], [[Slovakia#Electroacoustic music|Slovakia]], [[Czech Republic#Electroacoustic and experimental music, sound art|Czech Republic]], [[Hungary#Electroacoustic and experimental music, sound art|Hungary]], [[Serbia#Electroacoustic_music|Serbia]], [[Croatia#Electroacoustic_music|Croatia]], [[Romania#Electroacoustic_music|Romania]], [[Bulgaria#Electroacoustic_and_electronic_music|Bulgaria]], [[Lithuania#Electroacoustic_and_experimental_music|Lithuania]], [[Latvia#Electroacoustic_music|Latvia]], [[Estonia#Electroacoustic_and_experimental_music|Estonia]]. | ||
+ | * [[Electronic art music]] | ||
+ | * [[Computer music]] | ||
− | {{ | + | {{Sound and Music}} |
Revision as of 09:57, 13 April 2021
The terms Electroacoustics and its sub-discipline Electroacoustic music have been used to describe several different sonic and musical genres or musical techniques.
Contents
History
Many 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. The precise control afforded by the studio allowed for what Eimert considered to be an electronic extension and perfection of serialism; 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.
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.
Composers, studios, events
- Group A
- Pierre Barbaud
- Natasha Barrett
- Miro Bázlik
- Roman Berger
- Lars-Gunnar Bodin
- Martin Burlas
- Geneviève Calame
- CECM
- Janine Charbonnier
- Michel Chion
- Alessandro Cipriani
- János Decsényi
- Tod Dockstader
- László Dubrovay
- Cezary Duchnowski
- Juraj Ďuriš
- Electro-acoustic Music Studio
- Electroacoustic Music Studio
- Electroacoustic Music Studio of the Hungarian Radio
- Electronic Studio of Radio Belgrade
- Péter Eötvös
- Evenings of New Music
- Experimental Studio of Czech Radio Pilsen
- Experimental Studio of Slovak Radio
- Experimentalstudio für künstliche Klang- und Geräuscherzeugung
- Exposition of Experimental Music
- Exposition of New Music
- Luc Ferrari
- First Electronic Music Seminar, Pilsen
- Bernhard Gál
- Emmanuelle Gibello
- Groupe de Recherches Musicales
- Milan Grygar
- Alois Hába
- Hannes Hoelzl
- Institute of Sonology
- International Rostrum of Electroacoustic Music
- International Seminars on New Music, Smolenice
- Manuel Rocha Iturbide
- Miloslav Kabeláč
- Zbigniew Karkowski
- Roland Kayn
- Gottfried Michael Koenig
- Peter Kolman
- Kontakte
- Petr Kotík
- Wlodzimierz Kotonski
- Jaroslav Krček
- Roland Kuit
- Ladislav Kupkovič
- Giedrius Kuprevičius
- Václav Kučera
- Simo Lazarov
- Vladimír Lébl
- György Ligeti
- Alvin Lucier
- Peter Machajdík
- Robin Maconie
- Jozef Malovec
- Kaffe Matthews
- Alo Mattiisen
- Arturas Medonis
- Lucian Meţianu
- Costin Miereanu
- Musica Electronica Nova
- Octavian Nemescu
- Max Neuhaus
- New Music Studio Budapest
- Jérôme Noetinger
- Arne Nordheim
- Norwegian Studio for Electronic Music
- Jacqueline Nova
- Karel Odstrčil
- Pauline Oliveros
- Oramics to Electronica
- Else Marie Pade
- Ivan Parík
- Józef Patkowski
- Linas Paulauskas
- Krzysztof Penderecki
- Alois Piňos
- Polish Radio Experimental Studio
- Polish Society for Electroacoustic Music
- Éliane Radigue
- Vladan Radovanović
- Mark Rais
- Eugeniusz Rudnik
- Rudolf Růžička
- Tadeáš Salva
- Bogusław Schaeffer
- Pierre Schaeffer
- SEAH
- Birutė Sinkevičiūtė
- Milan Slavický
- Laurie Spiegel
- Ivan Stadtrucker
- STEIM
- Gerhard Steinke
- Karlheinz Stockhausen
- Aurel Stroe
- Lepo Sumera
- Antonín Sychra
- Krzysztof Szlifirski
- Takis
- Mindaugas Urbaitis
- Peeter Vähi
- Marco Vanoppen
- László Vidovszky
- Sorin Vulcu
- Warsaw Autumn
- Hildegard Westerkamp
- Knut Wiggen
- Dan Wilson
- Iannis Xenakis
- Ilja Zeljenka
- Further notable electroacoustic-music composers
- Rodolfo Acosta
- Mathew Adkins
- Klaus Ager
- Savannah Agger
- Javier Alvarez
- Patrick Ascione
- Larry Austin
- Clarence Barlow
- Sergio Barroso
- Wende Bartley
- François Bayle
- Andrew Bentley
- Luciano Berio
- Pierre Bernard
- Michael von Biel
- Boris Blacher
- Konrad Boehmer
- Michèle Bokanowski
- André Boucourechliev
- Ned Bouhalassa
- Pierre Boulez
- Herbert Brün
- Karl Gottfried Brunotte
- Christian Calon
- Jean-Christophe Camps
- John Chowning
- Darren Copeland
- Yves Daoust
- Michel Decoust
- Delia Derbyshire
- Marcelle Deschênes
- Francis Dhomont
- Paul Dolden
- Stephan Dunkelman
- Herbert Eimert
- Jean-Claude Éloy
- Peter Eötvös
- Bernard Fort
- Johannes Fritsch
- Roberto Garcia
- Rolf Gehlhaar
- Jacob Gilboa
- Gilles Gobeil
- Karel Goeyvaerts
- Jonty Harrison
- Jonathan Harvey
- Pierre Henry
- York Höller
- Nicolaus A. Huber
- Monique Jean
- Alden Jenks
- David C. Johnson
- Georg Katzer
- Ernst Krenek
- Philippe Le Goff
- Daniel Leduc
- Magnus Lindberg
- Otto Luening
- François-Bernard Mâche
- Robert MacKay
- Bruno Maderna
- Mesías Maiguashca
- Pierre Mariétan
- Jean-Etienne Marie
- Pierre Mariétan
- Salvatore Martirano
- Toshiro Mayuzumi
- Olivier Messiaen
- Ilhan Mimaroglu
- Philippe Mion
- Adrian Moore
- Robert Normandeau
- Emmanuel Nunes
- Gonzalo de Olavide
- Bernard Parmegiani
- Åke Parmerud
- Jorge Peixinho
- Michel Philippot
- Zoltán Pongrácz
- Henri Pousseur
- Steve Reich
- Carole Rieussec
- Jean-Claude Risset
- Daniel Scheidt
- Barry Schrader
- Claude Schryer
- Denis Smalley
- Roger Smalley
- Tim Souster
- Pete Stollery
- Zsigmond Szathmáry
- Toru Takemitsu
- Ivan Tcherepnin
- Serge Tcherepnin
- Richard Teitelbaum
- Javier Torres Maldonado
- Gilles Tremblay
- Jacques Tremblay
- Marc Tremblay
- Barry Truax
- Stephen Truelove
- Roxanne Turcotte
- Hans Tutschku
- Vladimir Ussachevsky
- Horacio Vaggione
- Annette Vande Gorne
- Edgar Varèse
- Alejandro Vinao
- Claude Vivier
- Trevor Wishart
- Charles Wuorinen
- La Monte Young
- Hans Zender
Institutions
National associations
- GRM — Groupe de recherches musicales / Musical Research Group, based in the National Audiovisual Institute (INA) (Paris)
- CEC — Canadian Electroacoustic Community / Communauté électroacoustique canadienne
- SAN — Sonic Arts Network is a UK-based organisation that promotes and explores the art of sound
- SEAMA — The Society for Electroacoustic Music in Australasia
- HELMCA – Hellenic Electroacoustic Music Composers Association
- SEAMS — Society for Electro Acoustic Music in Sweden
- SEAMUS — Society for Electro-Acoustic Music in the United States
- DEGEM — German Association of Electro-Acoustic Music
Other institutions
- IRCAM — Institut de recherche et coordination acoustique/musique / Acoustic/Music Research and Coordination Institute (Paris)
- CECH — Electroacoustic Community of Chile
- empreintes DIGITALes — Montréal-based label for recordings of musique concrète, acousmatic music, electroacoustic music
- EMS — Electroacoustic Music in Sweden
- Musiques & Recherches — Belgian association dedicated to the development of electroacoustic music
- CCRMA — Center for Computer Research in Music and Acoustics (Stanford CA USA)
Resources
- Audiovisual tools and instruments
- Electronic art music
- The International Documentation of Electroacoustic Music. [1]
- http://www.amazings.com/featuresnews.html
- EARS — the ElectroAcoustic Resource Site
- eContact! — The CEC’s web journal for electroacoustics
- Electroacoustic Music — Style reference at Synthtopia
- NIME — Conference on New Interfaces for Musical Expression
- VIBRÖ — Chronicles of contemporary sound experiments
- Art of the States: electroacoustic — Electroacoustic works by American composers
- Mexican electroacoustic music
- SONUS — The CEC’s online listening library (jukebox) of 2000+ electroacoustic works
- resources.electro Electroacoustic resource site (French)
- Thomas Patteson's blog Acousmata
- EMdoku — International Documentation of Electroacoustic Music
Literature
Books
- Enore Zaffiri, Due scuole di musica elettronica in Italia, Milan: Silva, 1968, 137 pp. (Italian)
- Terence Dwyer, Making Electronic Music: A Course for Schools, 3 vols., ills. Eric Tranter, London: Oxford University Press, 1975, 51 & 39 & v+39 pp. Textbook.
- Michel Chion, Guy Reibel, Les musiques électroacoustiques, Aix-en-Provence: Edisud, and Paris: Institut national de l'audiovisuel (INA), 1976, 339 pp. [2] (French)
- Herbert A. Deutsch, Synthesis: An Introduction to the History, Theory, & Practice of Electronic Music, Port Washington, NY: Alfred Pub. Co., 1976, xii+140 pp; rev.ed., Sherman Oaks, CA: Alfred Pub. Co., 1985, xi+120 pp.
- Michel Chion, La musique du futur: a-t-elle un avenir?, Paris: Institut national de l'audiovisuel (INA)/GRM, 1977, 148 pp, PDF. [3] (French)
- David Ernst, The Evolution of Electronic Music, New York: Schirmer, and London: Macmillan, 1977, xl+274 pp.
- Michel Chion, Les musique électroacoustique: ouvrage de technique musicale, Paris: PUF, 1982, 127 pp. [4] (French)
- Barry Schrader, Introduction to Electro-Acoustic Music, Englewood Cliffs, NJ: Prentice Hall, 1982, xvi+223 pp.
- Michel Chion, Guide des objets sonores: Pierre Schaeffer et la recherche musicale, Paris: Buchet/Chastel; Bry-sur-Marne: Institut National de l’Audiovisuel, 1983; repr., 1995, 187 pp. [5] (French)
- Guide To Sound Objects: Pierre Schaeffer and Musical Research, trans. John Dack and Christine North, London, 2009, 212 pp.
- Peter Manning, Electronic and Computer Music, New York: Oxford University Press, 1985, 291+[8] pp; 2nd ed., 1993, viii+399 pp; rev. & exp. ed., 2004, x+474 pp; 4th ed., 2013, xii+543 pp.
- Simon Emmerson (ed.), The Language of Electroacoustic Music, London: Macmillan, 1986, viii+231 pp; New York: Harwood Academic Publishers, 1986, viii+231 pp.
- Marietta Morawska-Büngeler, Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951-1986, Cologne-Rodenkirchen: P. J. Tonger Musikverlag, 1988, 160+[24] pp. (German)
- Robin Julian Heifetz (ed.), On the Wires of Our Nerves: The Art of Electroacoustic Music, Cranbury, NJ: Associated University Presses, 1989, OL.
- Leigh Landy, What’s the Matter with Today’s Experimental Music? Organized Sound Too Rarely Heard, Routledge, 1991, xiv+308 pp.
- Paul Griffiths, Modern Music and After: Directions Since 1945. Oxford: Oxford University Press, 1995.
- Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avantgarde, University of California Press, 1995, xvi+390 pp.
- Curtis Roads, The Computer Music Tutorial, MIT Press, 1996, 1254 pp.
- Simon Emmerson (ed.), Music, Electronic Media and Culture, Aldershot: Ashgate, 2000, ix+252 pp; repr., 2007.
- Thomas Licata (ed.), Electroacoustic Music: Analytical Perspectives, forew. Jean-Claude Risset, Westport, CT: Greenwood Press, 2002, xxiv+242 pp. TOC.
- Michal Rataj, Electroacoustic Music and Selected Concepts of Radio Art, 2006. (Czech)/(English)
- Leigh Landy, Understanding the Art of Sound Organization, MIT Press, 2007.
- Martin Iddon, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez, Cambridge University Press, 2013.
- Kees Tazelaar, On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands, 1925-1965, Rotterdam: V2_, 2013, 316 pp; rev ed., Rotterdam: V2_, 2020, 314 pp.
- Hannah Bosma, The Electronic Cry: Voice and Gender in Electroacoustic Music, Amsterdam: University of Amsterdam, 2013, 284 pp. PhD dissertation.
- Rüdiger Esch, Electri_City: elektronische Musik aus Düsseldorf 1970-1986, Berlin: Suhrkamp, 2014, 459 pp. Publisher. (German)
- Electri_City: The Düsseldorf School of Electronic Music, trans. Rudi Esch with Rob Keane, London: Overlook Press, 2016, 415 pp. Publisher.
- Andrea Valle, Stefano Bassanese (eds.), Enore Zaffiri. Saggi e materiali, Venice: DADI - Dip. Arti e Design Industriale: Università IUAVdi Venezia, 2014, 185 pp. Publisher. (Italian)
- Andrew J. Nelson, The Sound of Innovation: Stanford and the Computer Music Revolution, MIT Press, 2015, 248 pp, HTML. Companion website. Reviews: Feller (Computer Music J), Cianciotta (Neural).
- David Stubbs, Mars by 1980: The Story of Electronic Music, Faber Faber, 2018.
- Jennifer Iverson, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, Oxford University Press, 2018, xi+303 pp. [6]. Reviews: Gordon (Current Musicology), Vágnerová (Integral).
- François J. Bonnet, Bartolomé Sanson (eds.), Spectres: Composer l'écoute / Composing Listening, Rennes: Shelter Press, 2019, 228 pp. [7] [8] [9] (French),(English)
- Jøran Rudi, Elektrisk lyd i Norge fra 1930 til 2005, Oslo: Novus, 2019, 299 pp. [10] (Norwegian)
Essays
- Herbert Eimert, "What Is Electronic Music?", Die Reihe 1 (1957), pp 1-10.
- E. Ungeheuer, "Wie die elektronische Musik “erfunden” wurde…: Quellenstudie zu Werner Meyer-Epplers musikalische Entwurf zwischen 1949 und 1953", Kölner Schriften zur Neuen Musik 2, eds. Johannes Fritsch and Dieter Kämper, Mainz: B. Schott’s Söhne, 1992. (German)
- Karlheinz Stockhausen, "Electroacoustic Performance Practice", trans. Jerome Kohl, Perspectives of New Music 34:1, Winter 1996, pp 74-105.
Bibliographies
- Vernon Martin, Bibliography of Writings on Electronic Music, Columbia-Princeton Electronic Music Center, 1964.
- Lowell M. Cross, A Bibliography of Electronic Music, Toronto: University of Toronto Press, 1967.
- Ann Phillips Basart, Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music, Westport, CT: Greenwood Press, 1976.
- Electroacoustic music in Central and Eastern Europe: Bibliography, Monoskop, 2004ff.
See also
- Electroacoustic music in CEE, East Germany, Poland, Slovakia, Czech Republic, Hungary, Serbia, Croatia, Romania, Bulgaria, Lithuania, Latvia, Estonia.
- Electronic art music
- Computer music
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