Living Electronic Music

Living Electronic Music

Simon Emmerson


Drawing on contemporary rules that discover new environments and the altering occasions of composition and function, Simon Emmerson offers an important contribution to the learn of up to date tune, bridging heritage, aesthetics and the guidelines in the back of evolving functionality practices. even if created in a studio or played on level, how does digital song mirror what's dwell and residing? what's it to accomplish 'live' within the age of the machine? Many performer-composers draw upon a 'library' of fabrics, a few created previously in a studio, a few coded 'on the fly', others 'plundered' from the widest attainable variety of assets. yet others refuse to desert usually 'created and established' electroacoustic paintings. mendacity in the back of this maelstrom of job is the perennial courting to 'theory', that's, principles, ideas and practices that one way or the other lie in the back of composers' and performers' activities. a few composers declare they simply 'respond' to sound and compose 'with their ears', whereas others use types and analogies of formerly 'non-musical' techniques. it's glaring that during such new musical practices the human physique has a brand new courting to the sound. there's a old size to this, for because the earliest electroacoustic experiments in 1948 the physique has been celebrated or sublimated in a wierd 'dance' of forces during which it hasn't ever relatively long gone away yet infrequently been brazenly current. the connection of the physique acting to the areas round has additionally gone through a revolution because the resource of sound construction has shifted to the loudspeaker. Emmerson considers those concerns within the framework of our more and more 'acousmatic' international during which we can't see the resource of the sounds we listen.

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