| 000 | 03499nam a2200445 a 4500 | ||
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| 001 | 588169 | ||
| 005 | 20230217163921.0 | ||
| 007 | cr|||||||||||| | ||
| 008 | 060807s2007 enka fsb 001|0|eng d | ||
| 020 | _a9780754686804 (ebook) | ||
| 035 | _a(StDuBDS)AH23051557 | ||
| 040 |
_aStDuBDS _beng _cStDuBDS _dStDuBDSZ _dUkPrAHLS _dUkLoUWL |
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_aMUS _2ukslc |
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_aAVGC6 _2bicssc |
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_aAVLA _2thema |
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_aAVRS _2thema |
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_aAV _2thema |
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| 100 | 1 |
_aEmmerson, Simon, _d1950- |
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| 245 | 1 | 0 |
_aLiving electronic music / _cSimon Emmerson. |
| 260 |
_aAldershot : _bAshgate, _c2007. |
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| 300 |
_a240 p. : _bill. |
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| 366 | _b20070628 | ||
| 504 | _aIncludes bibliographical references and index. | ||
| 520 | 8 |
_aThis book is intended for anyone interested in contemporary music, but most especially electroacoustic music. The discussion draws on literature from acoustics and auditory science, psychology of perception, anthropology and the social sciences, as well as references from literature and the fine arts. _bDrawing 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. |
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| 530 | _aAlso available in printed form ISBN 9780754655480 | ||
| 533 |
_aElectronic reproduction. _cAskews and Holts. _nMode of access: World Wide Web. |
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| 650 | 0 |
_aElectronic music _xHistory and criticism. |
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| 650 | 0 |
_aPerformance practice (Music) _y20th century. |
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| 650 | 0 | _aElectro-acoustics. | |
| 650 | 0 |
_aComputer music _xHistory and criticism. |
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| 650 | 7 |
_aMusic. _2ukslc |
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| 650 | 7 |
_aArt music, orchestral & formal music _2thema |
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| 650 | 7 |
_aElectronic musical instruments _2thema |
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| 650 | 7 |
_aMusic _2thema |
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| 655 | 7 | _2lcsh | |
| 856 | 4 | 0 | _uhttp://www.vlebooks.com/vleweb/product/openreader?id=WestLondon&isbn=9780754686804 |
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