Electroacoustic Music
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Electroacoustic music is music whose sound incorporates electronic tools and instruments, including software, in its production or performance. Electroacoustic music often seeks to explore all the sonic possibilities of new technologies, and it includes both works performed live on stage and works created in the studio and played back in concert ...
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Electro-Acoustic music is a term used to describe those musics which are dependent on electronic technology for their creation and/or performance.
Music in which electronic technology, now primarily computer-based, is used to access, generate, explore and configure sound materials, and in which loudspeakers are the prime medium of transmission (see also ). There are two main genres. Acousmatic music is intended for loudspeaker listening and exists only in recorded form (tape, compact disc, computer storage). In live electronic music the technology is used to generate, transform or trigger sounds (or a combination of these) in the act of performance; this may include generating sound with voices and traditional instruments, electro-acoustic instruments, or other devices and controls linked to computer-based systems. Both genres depend on loudspeaker transmission, and an electro-acoustic work can combine acousmatic and live elements.
Leigh Landy in his paper, , discusses many other terms such as: Organized Sound, Sonic Art, Sound Art, Electronic Music, Musique Concréte/Acousmatic Music, Electroacoustic Music, Electronica, Computer Music
aural awareness (an ability to hear and listen both widely and accurately, linked to an understanding of how sound behaves in space and time)
cultural knowledge (an understanding of one’s place within a local and global culture coupled with an ability to make critical judgements and a knowledge of recent cultural developments)
musical abilities (the ability to make music in various ways – performance, improvisation, composition, etc. – using the new technologies)
technical skills (skill in recording, producing, processing, manipulating and disseminating music and sound using digital technologies).
Hugill, Andrew. The Digital Musician. Taylor & Francis [CAM], 2008.
Musique concréte = fixed - created from recorded sounds and synthesized sounds
Elektronische Musik = fixed - based solely on the production and manipulation of electronically produced sounds rather than recorded sounds
"One of the central ideas of these pieces is the search to find ways of embedding both the acoustic and the electronic into a single, coherent musical and aesthetic space." - Davidovsky
Tape music = fixed
entirely created using granular synthesis
Tape music = fixed
live processing = interactive
MIDI and audio from piano to the computer
“To my ear speech and song are not mutually exclusive: there is music in speech, and speech in song.” - Lansky
Lansky’s wife, Hannah MacKay, is the voice of this work
Notjustmoreidlechatter was made on a DEC MicroVaxII in 1988 using a technique known as Linear Predictive Coding, granular synthesis and a variety of stochastic mixing techniques
Tape music = fixed
fixed
for solo instrument and computer (Max software)
improvised/indeterminate and interactive
for string orch and electronics
acoustic instruments + track = fixed
bass clarinet and live, interactive electronics
live processing = interactive (using Max software)
acousmatic (fixed ... evolved from musique concréte)
two interactive electroacoustic works
fixed (basically a "tape piece")
"The point is that electronic technology is an opening to new musical possibilities. Thus technology has effectively liberated time, since any sound can be sped up, slowed down, played backward, or cut into tiny pieces to be stretched, shrunk, or scrambled. Pitch is liberated from 12-note equal temperament to any scale or no scale at all. It can flow into noise, slow into pulsation, or evaporate and coalesce. Timbre is liberated by the availability of dozens of synthesis toolkits, hundreds of sample libraries, and thousands of new software and hardware instruments. Space is liberated by a panoply of tools for choreographing sounds and the deployment of immersive multi-loudspeaker playback systems." (ch.1)
Software = some of the most commonly used software are:
They are simply different channels started by different people that are now owned by the score follower team. Incipitsify was given to the person behind score follower in 2015, necessitating additional members to help upkeep both of the channels, along with the channel mediated scores. We chose to keep the channels separate for multiple reasons—one of which being that upon ownership transfer, we had to go through all of the incipitsify videos and secure permissions and/or delete videos that did not follow our guidelines. We also did not want to zero-out views/likes and create hundreds of dead links by taking down incipitsify and Re-uploading to score follower. There’s no conscious aesthetic difference, although it is worth noting that score follower focuses on works from the last 10 years, and has a once-per-week upload schedule, while incipitsify is regarded as a larger archival repository with an upload schedule of twice per week.
Many of the aspects of this project originate from Andrew Hugill's book, The Digital Musician, Taylor & Francis [CAM], 2008.
begin developing your active listening skills
listen to sounds in ways you have been taught to analyze music
experience what it is like organize and manipulate sounds to create music
"The composer’s knowledge of the environmental and psychological context influences the shape of the composition at every level."
Make a soundscape composition (either of a real location or of an impossible location made up of sounds from many environments)
length = 30seconds minimum
record all your own sounds (you may use your phone, but you will produce better recordings by using a dedicated device such as a Zoom portable recorder or microphone via a USB audio interface)
use the table below to connect the musical parameters you've studied and thought about to better understand the domains and continuums of those concepts in the composition of electoacoustic music
exit the mix view in Bandlab (looks like a DAW) which should enter the view of your single piece within your library
"Publish" the project either public or unlisted (green button)
click the share button (next to the like heart on the left) and choose "Share and Embed..." (only available if you have "Published" it publicly or unlisted)
copy the long Share link
add your name and link to the following collaborative text editor = [a new link will be here each semester]
you and your instructors will be able to see everyone's piece in their mix view by clicking on the link to their projects and choosing to "fork" their project
Playing before class began =
1948 - Pierre Schaeffer -
1954 - Stockhausen -
1970 - Mario Davidovsky -
1986 - Barry Traux -
1988 - Philippe Manoury -
1988 - Paul Lansky -
1998 - Cort Lippe - starting at Section II ()
2004 - Åke Parmerud -
2010 - Tristen Perich -
2013 - Andrew May - ()
2012-14 - Jonty Harrison -
2015 - Panayiotis Kokoras - Connotations () ()
2018 - Elainie Lillios -
2019 - Adrian Moore -
2021 - Sarah Belle Reid -
2021 - Elliott Lupp -
Free Online Textbook =
Free access for Baylor students = (I suggest at least the first two chapters)
interactive tutorial =
interactive presentation = (by Tero Parviainen)
granular synth in the browser =
Varese = (paper)
and YouTube channels. Here's the owner describing the two channels:
music database (Baylor subscription)
Use the online DAW as the canvas of your project: a place to organize and manipulate all of your recordings
panning to give the perception that a sound is a moving sound in the environment
Table from
Fork your project =
