3966089
Descripción
Fichas por Hazel Meades, actualizado hace más de 1 año
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Creado por Hazel Meades
hace alrededor de 9 años
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| Pregunta | Respuesta |
| Democratisation | Anyone can produce music, regardless of their instrumental skill. |
| Modernism | Focusing on a single trajectory of progress (whereas today we celebrate performers of all different forms). |
| Musique concrète | Associated with Pierre Schaeffer (Groupé Recherche Musicale was initially led by him). Uses montages of sound. Based in Paris (RTF). Primarily uses sampling. |
| Elektrönische music | Synthesised sounds. Pseudo-scientific creation and organisation. Associated with Stockhausen and 1952-1970. Originated in Köln (WDR) from technological interests in synthesised speech in 1940s Nurtured in Darmstadt summer courses for new music (1950-) |
| Sonic landscape | New sound environments. Documentary/dramatic approach. Associated with Luc Ferrari and Trevor Wishart. |
| Computer music | Computer application to all processes of composition. Originated in late 1950s US. Most preliminary work done by public funds (units and institutes) in 50s/60s 1980s+ digital devices aimed at commercial and home users Bell labs (New Jersey) |
| Electroacoustic music | Generic term for all 4 strands when they began to converge in the mid 1980s. Differentiated art music from pop. |
| Acousmatic music | Compositional asthetic as well as listening strategy (otherwise similar to musique concrète). |
| Sound recording and sampling | Taking what is already there (aural ‘photography’). |
| Sequencing sounds | Re-ordering sounds by way of editing and ‘montage’. |
| Reduced listening | A theme common in Schaeffer's work and radiophonic art. You listen to sound content as music. |
| Solfège | Theory |
| Anecdotal electronic music | Developed by Luc Ferrari Mimesis Related to acoustic ecology Aural equivalent of natural photography Origins of sound are foregrounded |
| Mimesis | Process of evoking a context via sound e.g: manipulating musical structure to make it anecdotal. |
| Acoustic ecology | Focuses on relationship between us and the environment. |
| WDR | Westdeutscher Rundfunk West German Broadcasting |
| Algorithmic composition | Mostly instrumental music that's used a computer to work out a compositional sequence of algorithms or algorithms. |
| Live processing | Music with computer controlled live signal processing. |
| Physical modelling | Analysis/resynthesis of real sounds. Allows for morphing. |
| Mixed electroacoustic music | Live instruments performed alongside fixed medium (allows complete control over important musical features e.g: tape) Engage with new tech in contemporary chamber music Believed to be more accessible to audiences Live element provides a specific focus E.g: Kotakte for piano, percussion and tape |
| Ghost images | A compositional strategy of mixed electroacoustic works Recorded versions of same instrument |
| Acousmatic approach | A compositional strategy of mixed electroacoustic works Sound sources from instrumental sounds to assist in timbral fusion |
| Orchestral approach | A compositional strategy of mixed electroacoustic works Linked more to aesthetics of early computer music |
| Live electronics | Sound transformations occur in real time In the context of electro-acoustic music May include traditional and/or non traditional instruments transformed in some way Scored or partially or wholly improvised Laptop improv |
| Expanded sound world | Close mic technique similar to mixed works Mikrophonie (1964) 7 Pages by Whitty Used in pop music e.g: Kaki King's guitar style |
| Live transformation | Essentially ornamental E.g: addition of reverb, delays etc. to composed works Boulez Repons (1981) |
| Improvised works | Live instruments. Performers process/trigger sound as part of interactive performance |
| Interactive works | Performer actions affect output by mapping of data collected by mic/sensor. |
| AI techniques | Computer-based, score following |
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