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.  
 
  
 
==History==
 
==History==
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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.
  
==Pages==
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==Composers, studios, events==
 
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==Notable electroacoustic-music composers==
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; 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]]
 
* [[Larry Austin]]
 
* [[Larry Austin]]
 
* [[Clarence Barlow]]
 
* [[Clarence Barlow]]
* [[Natasha Barrett]]
 
 
* [[Sergio Barroso]]
 
* [[Sergio Barroso]]
 
* [[Wende Bartley]]
 
* [[Wende Bartley]]
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* [[Michael von Biel]]
 
* [[Michael von Biel]]
 
* [[Boris Blacher]]
 
* [[Boris Blacher]]
* [[Lars-Gunnar Bodin]]
 
 
* [[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]]
* [[John Cage]]
 
 
* [[Christian Calon]]
 
* [[Christian Calon]]
 
* [[Jean-Christophe Camps]]
 
* [[Jean-Christophe Camps]]
* [[Michel Chion]]
 
 
* [[John Chowning]]
 
* [[John Chowning]]
 
* [[Darren Copeland]]
 
* [[Darren Copeland]]
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* [[Marcelle Deschênes]]
 
* [[Marcelle Deschênes]]
 
* [[Francis Dhomont]]
 
* [[Francis Dhomont]]
* [[Tod Dockstader]]
 
 
* [[Paul Dolden]]
 
* [[Paul Dolden]]
 
* [[Stephan Dunkelman]]
 
* [[Stephan Dunkelman]]
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* [[Jean-Claude Éloy]]
 
* [[Jean-Claude Éloy]]
 
* [[Peter Eötvös]]
 
* [[Peter Eötvös]]
* [[Luc Ferrari]]
 
 
* [[Bernard Fort]]
 
* [[Bernard Fort]]
 
* [[Johannes Fritsch]]
 
* [[Johannes Fritsch]]
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* [[David C. Johnson]]
 
* [[David C. Johnson]]
 
* [[Georg Katzer]]
 
* [[Georg Katzer]]
* [[Gottfried Michael Koenig]]
 
 
* [[Ernst Krenek]]
 
* [[Ernst Krenek]]
 
* [[Philippe Le Goff]]
 
* [[Philippe Le Goff]]
 
* [[Daniel Leduc]]
 
* [[Daniel Leduc]]
* [[György Ligeti]]
 
 
* [[Magnus Lindberg]]
 
* [[Magnus Lindberg]]
* [[Alvin Lucier]]
 
 
* [[Otto Luening]]
 
* [[Otto Luening]]
 
* [[François-Bernard Mâche]]
 
* [[François-Bernard Mâche]]
 
* [[Robert MacKay]]
 
* [[Robert MacKay]]
* [[Robin Maconie]]
 
 
* [[Bruno Maderna]]
 
* [[Bruno Maderna]]
 
* [[Mesías Maiguashca]]
 
* [[Mesías Maiguashca]]
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* [[Toshiro Mayuzumi]]
 
* [[Toshiro Mayuzumi]]
 
* [[Olivier Messiaen]]
 
* [[Olivier Messiaen]]
* [[Costin Miereanu]]
 
 
* [[Ilhan Mimaroglu]]
 
* [[Ilhan Mimaroglu]]
 
* [[Philippe Mion]]
 
* [[Philippe Mion]]
 
* [[Adrian Moore]]
 
* [[Adrian Moore]]
* [[Arne Nordheim]]
 
 
* [[Robert Normandeau]]
 
* [[Robert Normandeau]]
 
* [[Emmanuel Nunes]]
 
* [[Emmanuel Nunes]]
 
* [[Gonzalo de Olavide]]
 
* [[Gonzalo de Olavide]]
* [[Pauline Oliveros]]
 
 
* [[Bernard Parmegiani]]
 
* [[Bernard Parmegiani]]
 
* [[Åke Parmerud]]
 
* [[Åke Parmerud]]
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* [[Zoltán Pongrácz]]
 
* [[Zoltán Pongrácz]]
 
* [[Henri Pousseur]]
 
* [[Henri Pousseur]]
* [[Eliane Radigue]]
 
 
* [[Steve Reich]]
 
* [[Steve Reich]]
 
* [[Carole Rieussec]]
 
* [[Carole Rieussec]]
 
* [[Jean-Claude Risset]]
 
* [[Jean-Claude Risset]]
* [[Manuel Rocha Iturbide]]
 
* [[Pierre Schaeffer]]
 
 
* [[Daniel Scheidt]]
 
* [[Daniel Scheidt]]
 
* [[Barry Schrader]]
 
* [[Barry Schrader]]
 
* [[Claude Schryer]]
 
* [[Claude Schryer]]
* [[Elzbieta Sikora]]
 
 
* [[Denis Smalley]]
 
* [[Denis Smalley]]
 
* [[Roger Smalley]]
 
* [[Roger Smalley]]
 
* [[Tim Souster]]
 
* [[Tim Souster]]
* [[Karlheinz Stockhausen]]
 
 
* [[Pete Stollery]]
 
* [[Pete Stollery]]
 
* [[Zsigmond Szathmáry]]
 
* [[Zsigmond Szathmáry]]
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* [[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]]
* [[Hildegard Westerkamp]]
 
 
* [[Trevor Wishart]]
 
* [[Trevor Wishart]]
 
* [[Charles Wuorinen]]
 
* [[Charles Wuorinen]]
* [[Iannis Xenakis]]
 
 
* [[La Monte Young]]
 
* [[La Monte Young]]
 
* [[Hans Zender]]
 
* [[Hans Zender]]
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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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* [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]].
 
* [[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.
+
* 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, Guy Reibel, ''[[Media:Chion_Michel_Reibel_Guy_Les_musiques_electroacoustiques_1976.pdf|Les musiques électroacoustiques]]'', Aix-en-Provence: Ina/Edisud, 1976, 344 pp. [http://michelchion.com/books/1-les-musiques-electroacoustiques] {{fr}}
* Simon Emmerson (ed.), ''The Language of Electroacoustic Music'', London: Macmillan, 1986.  
+
* Michel Chion, ''[https://monoskop.org/log/?p=21410 La musique du futur: a-t-elle un avenir?]'', Paris: 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}}
 +
* Michel Chion, ''[[Media:Chion_Michel_La_musique_electroacoustique_1982.pdf|Les musique électroacoustique]]'', Paris: PUF, 1982, 128 pp. [http://michelchion.com/books/3-la-musique-electroacoustique] {{fr}}
 +
* ''[[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; 1995, 187 pp. {{fr}} [http://www.michelchion.com/v1/index.php?option=com_content&task=view&id=643&Itemid=62]
 +
** ''[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. {{en}}
 +
* 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}}
* R.J. Heifetz. ''On the Wires of Our Nerves: The Art of Electroacoustic Music''. Cranbury, NJ: Associated University Presses Inc, 1989.
+
* 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.
* Curtis Roads, ''The Computer Music Tutorial'', MIT Press, 1996.
+
* 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.
* Karlheinz Stockhausen, "Electroacoustic Performance Practice", ''Perspectives of New Music'' 34:1 (Fall 1996), pp 74-105.
+
* Curtis Roads, ''[https://monoskop.org/log/?p=1914 The Computer Music Tutorial]'', MIT Press, 1996, 1254 pp.
 +
* 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.
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* Michal Rataj, [http://monoskop.org/log/?p=511 ''Electroacoustic Music and Selected Concepts of Radio Art''], 2006. (in Czech/English)
 
* Michal Rataj, [http://monoskop.org/log/?p=511 ''Electroacoustic Music and Selected Concepts of Radio Art''], 2006. (in Czech/English)
 
* Leigh Landy. [http://monoskop.org/log/?p=609 ''Understanding the Art of Sound Organization''], MIT Press, 2007.
 
* 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.
 +
* 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.
 +
* 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]
 
* 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}}
  
 
==See also==
 
==See also==

Revision as of 09:38, 20 April 2020

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

  • GRMGroupe 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

  • IRCAMInstitut 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


Sound and Music
communities of practice

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