Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music.
The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and relat...
| Publicado en: | Organised Sound Vol. 22; no. 2; pp. 195 - 206 |
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| Autores principales: | , , , |
| Formato: | Artículo |
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Cambridge University Press
Aug2017
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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=124088361&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 124088361 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Aug2017 vid: 22 iid: 2 pid: 15979 pub: Cambridge University Press artinfo: ui: 124088361 10.1017/S1355771817000103 ppf: 195 ppct: 11 formats: tig: atl: Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music. aug: au: LONG, JASON MURPHY, JIM CARNEGIE, DALE KAPUR, AJAY affil: New Zealand School of Music and School of Engineering and Computer Science, Victoria University of Wellington, Gate 7, Kelburn Parade, Kelburn, Wellington 6012, New Zealand su: Loudspeakers Acoustic generators Electroacoustic transducers Computer music Pneumatic actuators sug: subj: Loudspeakers Acoustic generators Electroacoustic transducers Computer music Pneumatic actuators ab: The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and related artists. As the march of technology progressed in the latter half of the twentieth century, alternative technologies opened up new areas within the electroacoustic discipline such as computer music, hyper-instrument performance and live electronic performance. In addition, the areas of electromagnetic actuation and musical robotics also allowed electroacoustic artists to actualise their works with real-world acoustic sound-objects instead of or along side loudspeakers. While these works owe much to the oft-cited pioneers mentioned above, there exists another equally significant alternative history of artists who utilised electric, electronic, pneumatic, hydraulic and other sources of power to create what is essentially electroacoustic music without loudspeakers. This article uncovers this 'missing history' and traces it to its earliest roots over a thousand years ago to shed light on oftenneglected technological and artistic developments that have shaped and continue to shape electronic music today. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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