This Handbook explores and critiques a new sonic reality – one which unearths new narratives that chart embryonic practices from the early twentieth century that have developed in parallel with accepted narratives of electronic music.
Today’s musical and artistic practices within technology-based music represent radical changes in production, engagement and dissemination of all sonic arts for composers, musicians, listeners, media content creators and casual music users. Constant everyday exposure to electronic or processed sounds influences our listening skills and listening intentionality, and our ideas of what constitutes valuable sound experiences have expanded radically. What are we listening to? How and why? This new reality is also more inclusive, and technology-borne music now appears as the new folk music – unwritten, improvised and finding its own relevance unfettered by the traditional hierarchies of taste. It is also where black and Asian technology-based experimental music is emerging with its own sonic genealogy, where music is no longer limited to sound only but can be more fruitfully seen as a branch of media arts, combining diverse materials, techniques and tools into more holistic experiences.
This Handbook explores and critiques a new sonic reality — one which unearths new narratives that chart embryonic practices from the early twentieth century that have developed in parallel with accepted narratives of electronic music.
Preface. JØRAN RUDI, MONTY ADKINS Introduction: Re-Framing and
Re-Thinking. JØRAN RUDI, MONTY ADKINS
Part 1: Technology Adoption and New Practices
1. The Irrational Roots of
Electronic Music. SIMON CRAB
2. Tracing Music Technology to its
Interdisciplinary Roots. JOSEPH HYDE
3. Ernest Berk: Piraparana. MONTY
ADKINS, SAM GILLES, IAN HELLIWELL
4. Antinomies of Net/Satellite
Communication: Strategies of Musical Interaction. ARILD OVE BOMAN
5.
Continuities and discontinuities in thought, infrastructure and organisation
in UK 'electroacoustic' music since 1975: observations, entanglements and
reasons for optimism. SIMON WATERS
6. Networked Performance as a Space for
Collective Creation and Student Engagement. HANS KRETZ
7. The memory of a
Ping Environmental Sonification as a Transversal Practice. ÅSA STJERNA
Part 2: Participation and Agency
8. The expanding Fields and Practices of
Technology-based Music. ULF A. S. HOLBROOK, JØRAN RUDI
9. Dynamic Sound
Design as (co-)compositional method in creative music. MATTHEW WRIGHT
10. A
Closer Listening. LOUISE GRAY
11. Technology as Noise. PAUL HEGARTY
12. The
Noise Selector. AMIT DINESH PATEL
13. Expanding the scope: Presence,
Visibility and Interpretation. CATHY LANE
14. Following female users: A
Feminist Historiography of the Fairlight CMI. MANUELLA BLACKBURN, PAUL
HARKINS
15. Sonic Alterities: Reimagining Histories and Technologies in Sound
Art. LINDA O KEEFFE
16. Japanese Sound Performance as Conceptual
Representation. MIKAKO MISUNO
17. Whose post-acousmatic colonial future? The
South African post-acousmatic. CAMERON HARRIS
18. Technologies of Capture and
the Global Souths. BUDHADITYA CHATTOPADHYAY
Part 3: Instruments and Software
19. Electricity, People and Cultures.
Another piece of history of the Theremin musical artifact. JOHANN MERRICH
20.
Issues of Ubimus Archaeology: Feedback Amplitude Modulation. NEMANJA
RADIVOJEVI, DAMIAN KELLER, VICTOR LAZZARINI
21. Upsetting the Controls:
Considering Controllerist Practice in Computer Music Performance. MANOLI
MORIATY
22. Max Expansion from a Programming Paradigm to a Distributed Lab.
JAEHOON CHOI
23. Where did all this come from? Tracing Electronic Music's
U.N.I.T.Y. through Electroacoustic and Hip Hop Production. MARGARET SCHEDEL,
WENDEL PATRICK
24. Turntablism. MARIAM REZAEI
Jøran Rudi was educated at New York University and pioneered the digital development of music in Norway as composer, studio director (NOTAM 19932019), technologist and historian. He is currently the Leverhulme Professor at the University of Huddersfield.
Monty Adkins is a composer and professor of electronic music at the University of Huddersfield. He has worked extensively on the tape archive of Roberto Gerhard and has published four edited collections on the composers work. He is currently leading an Arts and Humanities Research Council research project investigating the electronic music of Ernest Berk.
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