Difference between revisions of "Electroacoustic music"

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* [[Mathew Adkins]]
 
* [[Mathew Adkins]]
 
* [[Klaus Ager]]
 
* [[Klaus Ager]]
 +
* [[Savannah Agger]]
 
* [[Javier Alvarez]]
 
* [[Javier Alvarez]]
 
* [[Patrick Ascione]]
 
* [[Patrick Ascione]]
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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===
Line 164: Line 166:
 
* [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://acousmata.com Thomas Patteson's blog Acousmata]
 +
* [http://https://www.emdoku.de/de EMdoku] — International Documentation of Electroacoustic Music
  
 
==Literature==
 
==Literature==
−
* [[Media art in Central and Eastern Europe Bibliography#Electroacoustic_music|Electroacoustic music in Central and Eastern Europe: Bibliography]].
+
 
−
* Herbert Eimert, "What is Electronic Music?", ''Die Reihe'' 1 (1957), pp 1-10.
+
===Books===
−
* Michel Chion, [http://monoskop.org/log/?p=536 ''Guide To Sound Objects. Pierre Schaeffer and Musical Research''], Buchet Chastel, 1983.  
+
 
−
* Simon Emmerson (ed.), ''The Language of Electroacoustic Music'', London: Macmillan, 1986.  
+
* Enore Zaffiri, ''Due scuole di musica elettronica in Italia'', Milan: Silva, 1968, 137 pp. {{it}}
−
* M. 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. {{de}}
+
 
−
* R.J. Heifetz. ''On the Wires of Our Nerves: The Art of Electroacoustic Music''. Cranbury, NJ: Associated University Presses Inc, 1989.
+
* 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.
−
* Leigh Landy. [http://monoskop.org/log/?p=610 ''What’s the Matter with Today’s Experimental Music? Organized Sound Too Rarely Heard''], Routledge, 1991.
+
 
−
* 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}}
+
* 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.
 
* Paul Griffiths, [http://monoskop.org/log/?p=3507 ''Modern Music and After: Directions Since 1945'']. Oxford: Oxford University Press, 1995.
−
* Curtis Roads, ''The Computer Music Tutorial'', MIT Press, 1996.
+
 
−
* Karlheinz Stockhausen, "Electroacoustic Performance Practice", ''Perspectives of New Music'' 34:1 (Fall 1996), pp 74-105.
+
* 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.
−
* Simon Emmerson (ed.). [http://monoskop.org/log/?p=625 ''Music, Electronic Media and Culture''], Ashgate, 2000.
+
 
−
* T. Licata. (ed.), ''Electroacoustic Music: Analytical Perspectives'', Westport, Conn.: Greenwood Press, 2002.
+
* Curtis Roads, ''[https://monoskop.org/log/?p=1914 The Computer Music Tutorial]'', MIT Press, 1996, 1254 pp.
−
* Peter Manning, [http://monoskop.org/log/?p=276 ''Electronic and Computer Music''], Oxford and New York: Oxford University Press, 2004.
+
 
−
* Michal Rataj, [http://monoskop.org/log/?p=511 ''Electroacoustic Music and Selected Concepts of Radio Art''], 2006. (in Czech/English)
+
* Simon Emmerson (ed.), [http://monoskop.org/log/?p=625 ''Music, Electronic Media and Culture''], Aldershot: Ashgate, 2000, ix+252 pp; repr., 2007.
−
* Leigh Landy. [http://monoskop.org/log/?p=609 ''Understanding the Art of Sound Organization''], MIT Press, 2007.
+
 
−
* Martin Iddon, ''[http://library.memoryoftheworld.org/b/wb74fl3KLILtfJhgZydyuioBMrq22ggI4rnDehQ0z65CenMh New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez]'', Cambridge University Press, 2013.
+
* 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].
−
* Hannah Bosma, ''[https://pure.uva.nl/ws/files/2112113/130696_thesis.pdf The Electronic Cry: Voice and Gender in Electroacoustic Music]'', Amsterdam: University of Amsterda, 2013, 284 pp. PhD dissertation.
+
 
 +
* 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).
 
* 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).
−
* Rudi Esch, ''Electri_City: The Düsseldorf School of Electronic Music Paperback'', Overlook Press, 2016, 448 pp. [http://www.overlookpress.com/new/electri-city-the-dusseldorf-school-of-electronic-music.html]
+
 
 +
* 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==
 
==See also==

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.

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

Further notable electroacoustic-music composers

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

Literature

Books

  • Enore Zaffiri, Due scuole di musica elettronica in Italia, Milan: Silva, 1968, 137 pp. (Italian)
  • 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.
  • 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.
  • Thomas Licata (ed.), Electroacoustic Music: Analytical Perspectives, forew. Jean-Claude Risset, Westport, CT: Greenwood Press, 2002, xxiv+242 pp. TOC.
  • 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.
  • 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.
  • 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

  • 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)

Bibliographies

See also


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