Difference between revisions of "Electroacoustic music"

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==Literature==
 
==Literature==
 
* [[Media art in Central and Eastern Europe Bibliography#Electroacoustic_music|Electroacoustic music in Central and Eastern Europe: Bibliography]].
 
* [[Media art in Central and Eastern Europe Bibliography#Electroacoustic_music|Electroacoustic music in Central and Eastern Europe: Bibliography]].
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* Herbert Eimert, "What is Electronic Music?", ''Die Reihe'' 1 (1957), pp 1-10.
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* 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.
 
* Michel Chion, [http://monoskop.org/log/?p=536 ''Guide To Sound Objects. Pierre Schaeffer and Musical Research''], Buchet Chastel, 1983.  
 
* Michel Chion, [http://monoskop.org/log/?p=536 ''Guide To Sound Objects. Pierre Schaeffer and Musical Research''], Buchet Chastel, 1983.  
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* Simon Emmerson (ed.), ''The Language of Electroacoustic Music'', London: Macmillan, 1986.  
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* Simon Emmerson (ed.), ''[http://gen.lib.rus.ec/book/index.php?md5=72907DE3CBA892F20763AA150F53335E The Language of Electroacoustic Music]'', London: Macmillan, 1986, viii+231 pp.  
 
* 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}}
 
* 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}}
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* R.J. Heifetz. ''On the Wires of Our Nerves: The Art of Electroacoustic Music''. Cranbury, NJ: Associated University Presses Inc, 1989.
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* Robin Julian Heifetz (ed.), ''On the Wires of Our Nerves: The Art of Electroacoustic Music''. Cranbury, NJ: Associated University Presses Inc, 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.
 
* 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}}
 
* 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}}
 
* 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.
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* Curtis Roads, ''The Computer Music Tutorial'', MIT Press, 1996.
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* Curtis Roads, ''[https://monoskop.org/log/?p=1914 The Computer Music Tutorial]'', MIT Press, 1996, 1254 pp.
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* Karlheinz Stockhausen, "Electroacoustic Performance Practice", ''Perspectives of New Music'' 34:1 (Fall 1996), pp 74-105.
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* 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.
 
* Simon Emmerson (ed.). [http://monoskop.org/log/?p=625 ''Music, Electronic Media and Culture''], Ashgate, 2000.
 
* 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.
 
* T. Licata. (ed.), ''Electroacoustic Music: Analytical Perspectives'', Westport, Conn.: Greenwood Press, 2002.

Revision as of 17:28, 6 July 2019

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

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

See also


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