Live Electronic Music
Composition, Performance, Study
1st Edition
Published on 17. November 2017
Book
Hardback
358 pages
978-1-138-02260-7 (ISBN)
Description
During the twentieth century, electronic technology enabled the explosive development of new tools for the production, performance, dissemination and conservation of music. The era of the mechanical reproduction of music has, rather ironically, opened up new perspectives, which have contributed to the revitalisation of the performer's role and the concept of music as performance. This book examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format. Thus, at the core of this project is an absence. The objects of study lack a reliably precise graphical representation of the work as the composer or the composer/performer conceived or imagined it. How do we compose, perform and study music that cannot be set in conventional notation? The authors of this book examine this problem from the complementary perspectives of the composer, the performer, the musical assistant, the audio engineer, the computer scientist and the musicologist.
More details
Series
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
College/higher education
Illustrations
93 s/w Abbildungen, 67 s/w Photographien bzw. Rasterbilder, 26 s/w Zeichnungen
26 Line drawings, black and white; 67 Halftones, black and white; 93 Illustrations, black and white
Dimensions
Height: 234 mm
Width: 156 mm
Weight
820 gr
ISBN-13
978-1-138-02260-7 (9781138022607)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Friedemann Sallis | Valentina Bertolani | Jan Burle
Live Electronic Music
Composition, Performance, Study
Book
12/2019
1st Edition
Routledge
€68.10
Shipment within 15-20 days
Friedemann Sallis | Valentina Bertolani | Jan Burle
Live Electronic Music
Composition, Performance, Study
E-Book
11/2017
Routledge
€60.49
Available for download
Friedemann Sallis | Valentina Bertolani | Jan Burle
Live Electronic Music
Composition, Performance, Study
E-Book
11/2017
Routledge
€60.49
Available for download
Persons
Friedemann Sallis is Professor and Director of Graduate Studies in the Music Department at the University of Calgary, Canada.
Valentina Bertolani is currently pursuing a PhD in musicology at the University of Calgary, Canada.
Jan Burle is a scientist at Juelich Centre for Neutron Science, Forschungszentrum Juelich GmbH, Outstation at MLZ in Garching, Germany.
Laura Zattra is a research fellow at Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, France.
Valentina Bertolani is currently pursuing a PhD in musicology at the University of Calgary, Canada.
Jan Burle is a scientist at Juelich Centre for Neutron Science, Forschungszentrum Juelich GmbH, Outstation at MLZ in Garching, Germany.
Laura Zattra is a research fellow at Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, France.
Content
Introduction
Friedemann Sallis, Valentina Bertolani, Jan Burle and Laura Zattra
Part I: Composition
1. Dwelling in a field of sonic relationships: 'instrument' and 'listening' in an ecosystemic view of live electronics performance
Agostino Di Scipio
2. (The) speaking of characters, musically speaking
Chris Chafe
3. Collaborating on composition: the role of the musical assistant at IRCAM, CCRMA and CSC
Laura Zattra
Part II: Performance
4. Alvise Vidolin interviewed by Laura Zattra: the role of the computer music designers in composition and performance
Laura Zattra
5. Instrumentalists on solo works with live electronics: towards a contemporary form of chamber music?
Francois-Xavier Feron and Guillaume Boutard
6. Approaches to notation in music for piano and live electronics: the performer's perspective
Xenia Pestova
7. Encounterpoint: the ungainly instrument as co-performer
John Granzow
8. Robotic musicianship in live improvisation involving humans and machines
George Tzanetakis
Part III: Study
9. Authorship and performance tradition in the age of technology: (with examples from the performance history of works by Luigi Nono, Luciano Berio and Karlheinz Stockhausen)
Angela Ida De Benedictis
10. (Absent) authors, texts and technologies: ethnographic pathways and compositional practices
Nicola Scaldaferri
11. Computer-supported analysis of religious chant
Daniel Peter Biro and George Tzanetakis
12. Fixing the fugitive: a case study in spectral transcription of Luigi Nono's A Pierre. Dell'azzurro silenzio, inquietum. A piu cori for contrabass flute in G, contrabass clarinet in B flat and live electronics (1985)
Jan Burle
13. A spectral examination of Luigi Nono's A Pierre. Dell'azzurro silenzio, inquietum (1985)
Friedemann Sallis
14. Experiencing music as strong works or as games: the examination of learning processes in the production and reception of live electronic music
Vincent Tiffon
Friedemann Sallis, Valentina Bertolani, Jan Burle and Laura Zattra
Part I: Composition
1. Dwelling in a field of sonic relationships: 'instrument' and 'listening' in an ecosystemic view of live electronics performance
Agostino Di Scipio
2. (The) speaking of characters, musically speaking
Chris Chafe
3. Collaborating on composition: the role of the musical assistant at IRCAM, CCRMA and CSC
Laura Zattra
Part II: Performance
4. Alvise Vidolin interviewed by Laura Zattra: the role of the computer music designers in composition and performance
Laura Zattra
5. Instrumentalists on solo works with live electronics: towards a contemporary form of chamber music?
Francois-Xavier Feron and Guillaume Boutard
6. Approaches to notation in music for piano and live electronics: the performer's perspective
Xenia Pestova
7. Encounterpoint: the ungainly instrument as co-performer
John Granzow
8. Robotic musicianship in live improvisation involving humans and machines
George Tzanetakis
Part III: Study
9. Authorship and performance tradition in the age of technology: (with examples from the performance history of works by Luigi Nono, Luciano Berio and Karlheinz Stockhausen)
Angela Ida De Benedictis
10. (Absent) authors, texts and technologies: ethnographic pathways and compositional practices
Nicola Scaldaferri
11. Computer-supported analysis of religious chant
Daniel Peter Biro and George Tzanetakis
12. Fixing the fugitive: a case study in spectral transcription of Luigi Nono's A Pierre. Dell'azzurro silenzio, inquietum. A piu cori for contrabass flute in G, contrabass clarinet in B flat and live electronics (1985)
Jan Burle
13. A spectral examination of Luigi Nono's A Pierre. Dell'azzurro silenzio, inquietum (1985)
Friedemann Sallis
14. Experiencing music as strong works or as games: the examination of learning processes in the production and reception of live electronic music
Vincent Tiffon