Living Electronic Music

Living Electronic Music

Simon Emmerson


Drawing on contemporary rules that discover new environments and the altering events of composition and function, Simon Emmerson offers an important contribution to the examine of latest song, bridging heritage, aesthetics and the guidelines in the back of evolving functionality practices. even if created in a studio or played on degree, how does digital song replicate what's dwell and dwelling? what's it to accomplish 'live' within the age of the computing device? 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 diversity of resources. yet others refuse to desert regularly 'created and dependent' electroacoustic paintings. mendacity at the back of this maelstrom of task is the perennial courting to 'theory', that's, principles, rules and practices that someway lie in the back of composers' and performers' activities. a few composers declare they only 'respond' to sound and compose 'with their ears', whereas others use versions and analogies of formerly 'non-musical' strategies. it's obvious that during such new musical practices the human physique has a brand new courting to the sound. there's a historic measurement to this, for because the earliest electroacoustic experiments in 1948 the physique has been celebrated or sublimated in an odd 'dance' of forces during which it hasn't ever rather long gone away yet hardly been brazenly current. the connection of the physique appearing to the areas round has additionally gone through a revolution because the resource of sound creation has shifted to the loudspeaker. Emmerson considers those concerns within the framework of our more and more 'acousmatic' international within which we won't see the resource of the sounds we listen.

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