Os processos apresentados visam estabelecer princípios para a organização de sistemas de Afinação Justa no meio eletrônico alterando parciais de timbres. Pretendemos fundir harmonia e timbre como no ...Espectralismo, mas partindo das teorias harmônicas de Partch (1974), Johnston (2006) e Wilson (NARUSHIMA, 2018), com o fim de modificar timbres. Focaremos particularmente na teoria na teoria Combination-Product Sets de Erv Wilson (NARUSHIMA, 2018).
In this new edition of the classic text on the history and evolution of electronic music, Peter Manning extends the definitive account of the medium from its birth to include key developments from ...the dawn of the 21st century to the present day. After explaining the antecedents of electronic music from the turn of the 20th century to the Second World War, Manning discusses the emergence of the early ‘classical’ studios of the 1950s, and the subsequent evolution of more advanced analogue technologies during the 1960s and ‘70s, leading in turn to the birth and development of the MIDI synthesizer. Attention then turns to the characteristics of the digital revolution, from the pioneering work of Max Mathews at Bell Telephone Laboratories in the 1950s to the wealth of resources available today, facilitated by the development of the personal computer and allied digital technologies. The scope and extent of the technical and creative developments that have taken place since the late 1990s are considered in an extended series of new and updated chapters. These include topics such as the development of the digital audio workstation, laptop music, the Internet, and the emergence of new performance interfaces. Manning offers a critical perspective of the medium in terms of the philosophical and technical features that have shaped its growth. Emphasizing the functional characteristics of emerging technologies and their influence on the creative development of the medium, Manning covers key developments in both commercial and the non-commercial sectors to provide readers with the most comprehensive resource available on the evolution of this ever-expanding area of creativity.
The Digital Musician is a textbook for creative music technology and electronic music courses. It provides an overview of sound properties, acoustics, digital music, and sound design as a basis for ...understanding the compositional possibilities that new music technologies allow. Creative projects allow students to apply key concepts covered in each chapter. Topics covered include hardware hacking, live coding, interactive music, sound manipulation and transformation, software instruments, networked performance, as well as critical listening and analysis.
Features
Readers Guides outline the major topics in each chapter
Project boxes for both individuals and groups throughout each chapter
Annotated Listening Lists for each chapter, with accompanying playlists on the companion website
Recommended Further Reading and Discussion Questions at the end of each chapter
Case studies of actual composers, with contributed projects
Companion website includes reading lists, links to audio and video, and slides for use in the classroom.
Part 1. Engaging 1. Creative Identity 2. Aural Awareness 3. Understanding Sound 4. Listening to Digital Music Part 2. Creating 5. Organising Sound 6. Processing Sound 7. Creating Music 8. Instruments and Media 9. Performing 10. Digital Musicianship Part 3. Knowing 11. Cultural Context 12. Critical Engagement 13. Digital Music 14. Analysing Digital Music Part 4. Being 15. The Digital World 16. Case Studies
'Hugill's text, in keeping with his subject - the digitally networked, culturally savvy musician - reaches beyond the mere printed page through the inclusion of copious and wide-ranging listening examples, recommended further reading and creative projects... this book ticks all of the educational boxes replete with a wealth of resources to satisfy both the student and educator alike... one of the major strengths of this book is the author's lateral thinking and his almost virtuosic ability to draw together a wealth of technical and aesthetic ideas in order to illustrate his points... The Digital Musician is a highly stimulating book that asks of its readers as many questions as it attempts to answer. As such it is strongly recommended.' - Organised Sound
'The Digital Musician is an important summary of key issues concerning music practitioners using digital technologies. As an electronic musician, I found the volume stimulating and as potentially prompting further investigation into the field... it is a stimulating resource for students, educators and artists looking to expand their skills and examine their inspirations and motivations.' - Martin Koszolko, RMIT University, Dance Cult
Andrew Hugill is Director of the Institute Of Creative Technologies at De Montfort University, Leicester, UK, where he founded the Music Technology programme.
Living electronic music Emmerson, Simon
c2007., 2007, 20170929, 2007-11-01, 2017-09-29
eBook
‘Simon Emmerson’s book provides an important new perspective on key aspects of the electroacoustic medium which hitherto have not received the attention they deserve. The product of meticulous and ...probing research, this critical account is both insightful and thought-provoking, not least in terms of the deeply informed discussion of key works within this rich and ever-growing legacy and the often overlooked issues of performance practice associated with their dissemination. It fills an important gap in the literature, successfully communicating both to the more specialist reader and also those new to this distinctive and significant medium of creativity’
– Professor Peter Manning, Head of Department and Director of CETL, Department of Music, Durham University
‘Simon Emmerson’s new book is a superb exploration of how we perceive and understand today’s technology-based music. He draws a historical line pointing out that music has evolved from the obvious efforts of people playing mechanical instruments to music that seems to happen without human effort. He then explores the ways in which we understand this new musical universe, populated by sounds that are produced by technology and seem to simply happen with no apparent cause. He discusses the relationships of these sounds to the real world, our perception of the new musical space in which these sounds exist; and our understandings of this new music through real-life ‘models’. Illuminating and insightful, this book is clearly the result of years of creativity and reflection and it will lead a reader to new depths of understanding of the musical revolution that is happening around us.’
– Joel Chadabe, President, Electronic Music Foundation and Professor Emeritus, State University of New York at Albany
Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living?
What is it to perform ‘live’ in the age of the laptop? Many performer-composers draw upon a library’ of materials, some created beforehand in a studio, some coded ‘on the fly’, others ‘plundered’ from the widest possible range of sources. But others refuse to abandon traditionally ‘created and structured’ electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to ‘theory’, that is, ideas, principles and practices that somehow lie behind composers’ and performers’ actions. Some composers claim they just ‘respond’ to sound and compose ‘with their ears’, while others use models and analogies of previously ‘non-musical’ processes.
It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange ‘dance’ of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly ‘acousmatic’ world in which we cannot see the source of the sounds we hear.
Nye reviews Dutch Dance, 1988-2018: How the Netherlands Took the Lead in Electronic Music Culture by Mark van Bergen and translated by Andrew Cartwright.
The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and ...events. InThe Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective.The Rhythmic Eventseeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm--detached, however, from the idea of counting and regularity -- can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become.
•Ketamine was the most prevalent NPS in oral fluid samples collected in Brazil.•Synthetic cathinones and phenylethylamines were also frequently identified NPS.•Polydrug consumption of psychoactive ...substances occurred in 79.9 % of samples.•Inadvertent NPS intake was identified in 39 % of samples.•Onsite oral fluid sampling was effective to determine psychoactive substance use.
New psychoactive substances (NPS) use is a worldwide public health issue. Knowing the prevalence of NPS guides public health and legal policies to address the problem. The objective of this study was to identify NPS in Brazil through the analysis of oral fluid (OF) samples collected at parties and electronic music festivals.
Anonymous questionnaires and oral fluid samples were collected from volunteers (≥18 years) who reported the consumption of at least one illicit psychoactive substance in the last 24 h. Oral fluid sample collections occurred at eleven parties and two electronic music festivals over 16 months (2018–2020). Questionnaire answers were matched to oral fluid toxicological results.
Of 462 oral fluid samples, 39.2 % were positive for at least one NPS by liquid chromatography‒tandem mass spectrometry (LC–MS/MS). The most prevalent NPS was ketamine (29.4 %), followed by methylone (6.1 %) and N-ethylpentylone (4.1 %); however, MDMA was the most commonly identified (88.5 %) illicit psychoactive substance. More than one drug was identified in 79.9 % of samples, with two (34.2 %) and three (23.4 %) substances most commonly observed. Only 5 % of volunteers reported recent NPS consumption.
MDMA is still the most common party and electronic music festival drug, although NPS were identified in more than one-third of oral fluid samples.
Communication among performers is a fundamental aspect in music performance. A large number of electronic music instruments based on tangible and screen-based interfaces require a focused visual ...attention from performers while they are controlled. In certain stage and artistic configurations, this may be an obstacle to face-to-face creative interactions between coperformers and their collaborators. To address these issues, we adopted a user-centered design methodology to develop a novel class of IoT devices that we term musical haptic wearables for performers. We conducted a co-design workshop with 10 electronic musicians using focus-group discussions and the bootlegging technique. This workshop identified numerous creative communication issues among performers in electronic music practice and resulted in mock-up prototypes. We then developed three chest-, foot-, and arm-worn haptic wearables respectively for coperformer, performer-conductor, and performer-sound-engineer interactions. The wearables were assessed with 25 participants using a mixed-methods approach. High accuracies (70%-100%) were obtained for musical actions expected after instructions wirelessly communicated via tactile signals. The results provide evidence that musical haptic wearables can be an effective medium of communication in the context of electronic music performances. More challenges were identified regarding size and placement of the devices on the body, interferences with concurrent vibrations generated by music signals, limitations on the range of creative controls, and a required training curve.
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