French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late ...1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettled clear divisions between high and low cultures. Attending in particular to the question of subjectivity as it appears in the theoretical writings of the composers Pierre Schaeffer and François Bayle, the article aligns Bayle's thinking with that of contemporary writers including Julia Kristeva and Roland Barthes, who launched a critique of the Enlightenment subject. This theoretical nexus suggests that Bayle's L’Expérience acoustique (1969–1972) posits a form of subjectivity closer to the psychedelic counterculture than to the sober listening of Schaeffer's writings. In unsettling the Schaefferian listening subject, the piece opens itself to a heterogeneous listening, the social consequences of which remain significant today.
This article proposes a division of the concept of space in music into four spaces, namely the internal, external, intrinsic and extrinsic spaces. Having reviewed these concepts in texts from ...numerous authors and composers, we aggregate a variety of concepts into these four main categories of space in music. We also present possible transgressions of the boundaries of these concepts, with the understanding that these transgressions are common practice for contemporary composers. Currently, these practices of transgression tend to be confused because of the lack of a clear definition for the spaces in question.
Este artigo propõe uma divisão do conceito de espaço na música em quatro espaços, nomeadamente os espaços interno, externo, intrínseco e extrínseco. Tendo revisto estes conceitos em textos de numerosos autores e compositores, agregamos uma variedade de conceitos nestas quatro categorias principais de espaço na música. Apresentamos também possíveis transgressões dos limites desses conceitos, entendendo que essas transgressões são uma prática comum para compositores contemporâneos. Atualmente, essas práticas de transgressão tendem a ser confundidas pela falta de uma definição clara para os espaços em questão.
Hacia un radioarte expandido Rocha Iturbide, Manuel
Nodo: Arquitectura. Ciudad. Medio Ambiente,
2022, Letnik:
17, Številka:
33
Journal Article
Recenzirano
Odprti dostop
In this essay I propose to open the concept of radio art in order to enrich it and to approach the different aesthetic styles of electroacústic music and sound art, because the radiophonic ...institutions and their protagonists have limited the definitions of radio art genres, limiting in this way the expressive possibilities of this interesting electric space. It is necessary to do a comparative analysis of the languages of these three fields (radio art, sound art and electroacoustic music) in order to find their convergences. From there, I am inviting radio artists to get closer to electroacoustic and conceptual art aesthetics to include in their works, and musicians and all kind of artists to make radio art. Finally, I do an historical analysis of the radiophonic and cultural institutions in Mexico in an international context, acknowledging their protagonist role in Latin America, and proposing an increased support for the creation and diffusion of sound works for the radio.
En este ensayo propongo abrir el concepto de radioarte para enriquecer el género y acercarlo más a los distintos estilos estéticos de la música electroacústica y del arte sonoro, ya que las instituciones radiofónicas y sus protagonistas se han ensimismado en una escueta y limitada definición de géneros del arte radial, que ha limitado las posibilidades expresivas de este interesante espacio eléctrico. Es necesario hacer un análisis comparativo de los lenguajes de estos tres campos (radioarte, arte sonoro y música electroacústica) para encontrar sus convergencias. A partir de ahí, intento que los radioartistas se acerquen a los estilos estéticos de la electroacústica y del arte conceptual, y que los músicos y artistas de otras disciplinas se aproximen al radioarte. Finalmente, hago un análisis histórico crítico del papel de las instituciones radiofónicas y culturales de México en un contexto internacional, reconociendo su papel protagonista en Latinoamérica, y proponiendo un apoyo mayor en la creación y difusión de obras sonoras para la radio.
Electronic music as music heritage Van Kan, Mischa
Svensk tidskrift för musikforskning,
11/2023, Letnik:
105, Številka:
1
Journal Article
Recenzirano
Odprti dostop
In the past, many institutions of electroacoustic music positioned electroacoustic music as being the ‘music of the future’; in the first two decades of the 21st century, however, a focus on ...electroacoustic music’s past has grown, in particular with the aim to preserve this past. If pastness could once make electroacoustic music obsolete, it can now be valuable for electroacoustic music. Therefore, this article investigates how the view of electroacoustic music as music heritage has influenced the present understanding of this kind of music at Elektronmusikstudion (EMS) in Stockholm, Sweden. By analyzing the stages through which electroacoustic music at EMS has become heritage and by conducting and analysing qualitative interviews with composers/sound artists working at EMS, this article explores electroacoustic music as heritage. Furthermore, it investigates the possible effects this understanding of electroacoustic music has on artists’ practices and reflections. The main conclusion is that the institutional history of electroacoustic music influences how it is regarded as music heritage. Furthermore, understanding electroacoustic music as heritage allows various people involved at EMS to reflect on its past, and it becomes clear that this past can influence artistic choices. At the same time, these reflections contribute to creating a many-faceted history of electronic music rather than maintaining a history with a single grand narrative.
O presente artigo tem como objetivo definir o desenvolvimento da música eletroacústica audiovisual para realidade virtual (VR) como uma manifestação artística emergente. Revisitando conceitos e ...terminologias de diversos autores (Gibbs, 2007; Leite, 2004; Lima, 2011; Fry, 1920) com relação às mais diversas manifestações audiovisuais, consolidamos a definição de Hill (2010) e a expandimos para um sistema de reprodução específico, o VR, como a mais apropriada para o nosso objeto de estudos. A manutenção do que denominamos de espaço extrínseco (Henriksen, 2002) nesse tipo de manifestação possibilita a consolidação do mesmo como parâmetro musical. Primeiros estudos em música eletroacústica audiovisual para VR são apresentados como resultado de um trabalho de doutorado.
Audiovisual electroacoustic music for VR Fabio Wanderley Janhan Sousa
Per musi : revista de performance musical,
08/2021, Letnik:
41, Številka:
2021
Journal Article
Recenzirano
Odprti dostop
This article aims to define the development of audiovisual electroacoustic music for virtual reality (VR) as an emerging artistic expression. Revisiting concepts and terminologies by several authors ...(Gibbs, 2007; Leite, 2004; Lima, 2011; Fry, 1920) in relation to the most diverse audiovisual manifestations, we consolidated Hill's definition (2010) and expanded it to a specific reproduction system, VR, as the most appropriate for our object of study. The maintenance of what we call extrinsic space (Henriksen, 2002) in this type of manifestation makes it possible to consolidate it as a musical parameter. First studies in audiovisual electroacoustic music for VR are presented as result of doctoral work.
Entrevista com Harry Crowl Crowl, Harry; Furtado, Antonio
Revista Vórtex,
05/2021, Letnik:
9, Številka:
1
Journal Article
Recenzirano
Odprti dostop
the present interview is about the preservation and the compositional process of Convivium (1986), by the composer Harry Crowl. The piece was composed on magnetic tape, which is a factor that makes ...its preservation difficult. The composer reveals aspects of the process of preserving a musical work as an individual, taking into account the relations between the compositional process, the socio-political context in which it was created and the media that was used to record it. Based on these relations, it becomes possible to digitize the original piece on an updated media in order to preserve it. In addition, the interview deals in some details about the working conditions of most composers of electroacoustic music in Brazil in the 1980s, therefore this interview has a musicological relevance.
Extensive research has been published on the effects of music in reducing anxiety. Yet, for most of the existing works, a common methodology regarding musical genres and measurement techniques is ...missing, which limits considerably the comparison between them. In this study, we assess, for the first time, markedly different musical genres with both psychological and physiological measurements. Three previously studied musical samples from different genres—classical (Pachelbel’s Canon in D), Turkish (Hüseyin Makam), and electroacoustic (pure electronic)—were employed to influence “everyday anxiety” in 50 German participants (25 females, 25 males). Psychological (self-perception assessment) and physiological (heart rate measurement) indicators of anxiety, as most typical of prior work, were considered. Our study shows that listening to Pachelbel’s Canon increases the self-perception of calm, whereas listening to the electroacoustic sample decreases it; the Turkish sample is in between. No differences in heart rate are found for any of the musical genres. Our study also suggests that listeners’ self-perception might be biased by the statements used in the psychological evaluation (positive or negative), which are interpreted differently by the subjects depending on their current state.
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