DNK Amsterdam: Concert Series for New Live Electronic and Acoustic Music in Amsterdam (press release, 27 November; Accessed 2 May 2013).Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrte, electronic music and early computer music.
Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry ( Sutherland 1994, 157). Real-time generation and manipulation of audio using live coding is now commonplace. An example includes composer Joseph Schillinger, who in 1929 composed First Airphonic Suite for Theremin and Orchestra, which premired with the Cleveland Orchestra with Leon Theremin as soloist. The ondes Martenot was also used as a featured instrument in the 1930s, and composer Olivier Messiaen used it in the Fte des Belles Eaux for six ondes, written for the 1937 International Worlds Fair in Paris ( Hill and Simeone 2005, 7475). Cages interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form ( Manning 2013, 157). However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred. Mauricio Kagel s Transicin II (1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964 Karlheinz Stockhausen entered on a period of intensive work with live electronics with three works, Mikrophonie I and Mixtur (both 1964), and Mikrophonie II ( Manning 2013, 15758). While earlier live-electronic compositions, such as Cages Cartridge Music (1960), had mainly employed amplification, Stockhausens innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music ( Toop 2002, 495). Many composers viewed the development of live electronics as a reaction against the largely technocratic and rationalistic ethos of studio processed tape music which was devoid of the visual and theatrical component of live performance ( Sutherland 1994, 157). By the 1970s, live electronics had become the primary area of innovation in electronic music ( Simms 1986, 395). The success of Oxygene and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times ( Cacciottolo 2008; Anon. ![]() The term is a portmanteau of lap top computer and elec tronica. The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form, and therefore in live performance. Many sophisticated forms of sound production, manipulation and organization (which had hitherto only been available in studios or academic institutions) became available to use in live performance, largely by younger musicians influenced by and interested in developing experimental popular music forms ( Emmerson 2007, page needed ). A combination of many laptops can be used to form a laptop orchestra. Live coding is often used to create sound and image based digital media, and is particularly prevalent in computer music, combining algorithmic composition with improvisation ( Collins 2003, page needed ). Cambridge Companion To Electronic Music Code An AreaTypically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research ( McLean, Griffiths, Collins, and Wiggins 2010, page needed ). There are also approaches to human live coding in improvised dance ( Anon. Live coding techniques are also employed outside of performance, such as in producing sound for film ( Rohrhuber 2008, 6070) or audiovisual work for interactive art installations ( Anon. It has been part of the sound art world since the 1930s with the early works of John Cage ( Schrader 1991, page needed; Cage 1960 ). Source magazine published articles by a number of leading electronic and avant-garde composers in the 1960s ( Anon. Cambridge Companion To Electronic Music Free Improvisation GroupBritish free improvisation group AMM, particularly their guitarist Keith Rowe, have also played a contributing role in bringing attention to the practice citation needed. Jeff Carey Jozef van Wissem, Tetuzi Akiyama Martin Siewert: Three Sets of Strings Electronics in Different Combinations.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |