Now showing items 1-10 of 23
(Self published composition, 2014-07-01)
Composition for 4, 8 or 12 performers for voice + live electronics (prose score)
Wprowadyanie młodzieży w świat organizowania dzwiękow: EARS 2 i Compose with Sounds
(Fundacja 4.99, 2015-11)
This Polish article, largely drawn on an "Organised Sound" article from 2013 introduces the EARS 2 Pedagogical Project and Compose with Sounds software from all angles. It focuses on an international initiative introducing ...
Oral History as Form
This paper examines the use of oral history sound recording as a core element in electroacoustic music. Two main examples are used, both works by this author: ‘An Angel at Mons’, a 16-channel acousmatic work, and ‘Red ...
Forming Form: The bigger picture of electroacoustic music.
(Cambridge University Press, 2016)
Electroacoustic music’s foundation in the electronic mediation of sound—recorded, ‘live’ processed or historical—has opened up the possibility of bringing together sounds of more diverse provenance than ever before for the ...
The analysis of live and interactive electroacoustic music: Hans Tutschku - Zellen-Linien (2007)
(Cambridge University Press, 2016-04)
An analysis of Hans Tutschku's work Zellen-Linien for piano and live electronics, starting from the listening experience and working back to the score and performance instructions.
But Is It (Also) Music?
This invited chapter to the Companion volume attempts to situation composition with sounds (as opposed to notes) primarily within music today, but also makes links with fine art, digital arts and sound studies.
Convergence of Time and Space: Visual Music from an Electroacoustic Music Perspective
(Oxford University Press, 2016)
This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the ...
Construire l’impermanence – temps et immutabilité chez Jean-Claude Risset
In many of Jean-Claude Risset's works – for example in Invisible (1996) and Otro (2011) – there is, beyond the stated esthetical goal or the compositional and technical processes, an erudite reflection on the passage of ...
Reconstruction as preservation strategy
(Bayreuth Universität, 2018-12)
Beginnings and Endings
This paper attempts to outline a framework for understanding implications of the musical devices used by composers in the opening and closing moments of electroacoustic music, with a particular focus on acousmatic music. The ...