Virtual Sound: Examining Glitch and Production.
The arrival of so-called laptop music in the late 1990s also created a distinctively new aesthetic, which utilized the errors and disturbances taking place in digital sound processing. This focus on the glitch became an emblematic sound and signaled a new approach to the relation between the sound a...
| Publicado en: | Contemporary Music Review Vol. 22; no. 4; pp. 45 - 53 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2003
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| 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=12407258&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 12407258 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2003 vid: 22 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 12407258 10.1080/0749446032000156946 ppf: 45 ppct: 8 formats: fmt: @attributes: type: P size: 931KB tig: atl: Virtual Sound: Examining Glitch and Production. aug: au: Vanhanen, Janne su: Computer sound processing Computer music Musical aesthetics Electronic musical instruments Popular culture sug: subj: Computer sound processing Computer music Musical aesthetics Electronic musical instruments Popular culture keyword: aesthetics glitch phonography process production ab: The arrival of so-called laptop music in the late 1990s also created a distinctively new aesthetic, which utilized the errors and disturbances taking place in digital sound processing. This focus on the glitch became an emblematic sound and signaled a new approach to the relation between the sound artist and the tools of music production by focusing on the production process itself. There has been a steady increase in the quantity of music produced under the concept of glitch, and its "aesthetics of failure" has lost much of its avant-garde status by becoming a part of an established musical vocabulary. I wish to consider the laptop producer's role, which overlaps academia and popular culture, by offering further analysis on the concept of glitch and the production process and will conclude that the laptop artist inhabits a paradoxical position, both culturally (academia/pop) and aesthetically (artistry/machinic production). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2003 holdings: @attributes: islocal: N |
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