The Intersection of ‘Live’ and ‘Real-time’.
Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same con...
| Publicado en: | Organised Sound Vol. 21; no. 2; pp. 138 - 147 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Cambridge University Press
Aug2016
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=116525043&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 116525043 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Aug2016 vid: 21 iid: 2 pid: 15979 pub: Cambridge University Press artinfo: ui: 116525043 10.1017/S1355771816000066 ppf: 138 ppct: 9 formats: tig: atl: The Intersection of ‘Live’ and ‘Real-time’. aug: au: Hagan, Kerry L. affil: Digital Media and Arts Research Centre, Department of Computer Science and Information Systems, CS1025, University of Limerick, Limerick, Ireland su: Computer music Computer composition Electronic music Music & technology 20th century music sug: subj: Computer music Computer composition Electronic music Music & technology 20th century music ab: Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
|---|