Collaboration, Engagement, and Tradition in Contemporary and Electronic Music

NoiseFloor Perspectives
1. Auflage 2024
ISBN: 978-1-032-55374-0
Verlag: Taylor & Francis Ltd

Buch, Englisch, 396 Seiten, Format (B × H): 234 mm x 156 mm, Gewicht: 600 g

Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives illuminates practices at the forefront of modern music-making and is built on a rich collection of concerts and talks, representing over a decade of artistic insight and creative practice showcased at the annual NoiseFloor event.

Exploring the themes of collaboration, engagement, and tradition, this cutting-edge collection offers chapters on a range of pressing issues, including AI in music, audiovisual composition, environmental sound, and interactive sound systems. NoiseFloor’s aim is to showcase research and original works by international composers and performers and has attracted prolific artists in a wide range of related fields – many of whom have contributed to this volume. This book provides a timely snapshot of new and emerging developments in the broad field of contemporary music-making.

Collaboration, Engagement, and Tradition in Contemporary and Electronic Music will be of interest to postgraduates and advanced undergraduates working in the areas of contemporary music, electronic music, and music technology. This book is also ideal for composers, artists, and researchers investigating theoretical concepts and compositional practices in contemporary music.

Zielgruppe

Academic, Postgraduate, and Undergraduate Advanced

Autoren/Hrsg.

Payling, Dave

Estibeiro, Marc

Cotter, David

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikalische Akustik, Tontechnik, Musikaufnahme
• Geisteswissenschaften Musikwissenschaft Musikinstrumente Elektronische Musikinstrumente
• Geisteswissenschaften Musikwissenschaft Musikgattungen Elektronische Musik

Inhaltsverzeichnis

PART 1 Collaboration 1 Electronics as a Member of the Ensemble; 2 Composing with Instruments and Live Electronics; 3 Forty Years of Live Electroacoustic Music: Reflections on a Continuing Partnership; 4 Music in Vision: Visual Music Instruments in Practice; 5 Autonomous Music Systems with Agency; PART 2 Engagement 6 Formuls: An Electronic Musical Instrument for Synthesis-Based Composition and Performance; 7 Overtone Music; 8 Spatial Sonorous Objects and Their Creative Use: A Framework for the Analysis of Spatialisation; 9 Sound as a Method: Creative Textual Practices as Critical Re-Writings; PART 3 Tradition 10 Scratching, Past and Future: Cataloguing the Scholarship on Turntablism and Controllerism, and an Introduction to Their Emerging Affiliated Practices and Communities; 11 Composing with Ambisonics: An Electroacoustic Practitioner’s Guide; 12 Audiovisualisation: Reviving the Spectre of Optical Sound and Structural/Materialist Film; 13 Events and Continuums: The Audiovisual Composition ‘Estuaries 4’; 14 From Stochastic Music to Quantum Music; 15 Exploring the Musical Potential and Non-Hierarchical Signal-Noise Relationships in MP3 Compression Technologies Using Musical Composition; 16 Motion Capture for Musical Expression

Über Autor(innen)

Marc Estibeiro is a composer, guitar player, and academic. His academic work focuses on composing music for acoustic instruments and electronics. His work has been presented at conferences, workshops, concerts, and seminars around the world. Marc is currently Associate Professor of Music at Staffordshire University in the UK.

Dave Payling is a visual music artist from Staffordshire. His work focuses on composition for Visual Music with abstract animation and electronic music. Dave is section editor for Dancecult: Journal of Electronic Dance Music Culture and author of Electronic Visual Music: The Elements of Audiovisual Creativity.

David Cotter is an academic and musician, lecturing and performing on the international stage. His doctoral research at the University of Cambridge concerns the cultural, sonic, spatial, and technological affordances of the guitar in collaborative music performance.