Simon Emmerson – författare

The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of 'reaching out' and 'connecting together' – and in effect showing that there is emerging a different kind of 'global music'.

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.

First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a creative dialogue with designers and builders, who are usually programmers in the contemporary world. The collection as a whole will help to demonstrate the great potential for exchange between the multidisciplinary approaches to music.

First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a creative dialogue with designers and builders, who are usually programmers in the contemporary world. The collection as a whole will help to demonstrate the great potential for exchange between the multidisciplinary approaches to music.

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

The theme of this Research Companion is ''connectivity and the global reach of electroacoustic music and sonic arts made with technology''. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between ''electronic music'' and ''sound art''. Also, what was previously an apparently simple divide between ''art'' and ''popular'' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of ''reaching out'' and ''connecting together'' – and in effect showing that there is emerging a different kind of ''global music''.

The theme of this Research Companion is ''connectivity and the global reach of electroacoustic music and sonic arts made with technology''. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between ''electronic music'' and ''sound art''. Also, what was previously an apparently simple divide between ''art'' and ''popular'' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of ''reaching out'' and ''connecting together'' – and in effect showing that there is emerging a different kind of ''global music''.

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

Technology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

Since the inception of electroacoustic music in 1948, much has been written about technical developments. This book is one of the first to examine aesthetic issues central to this rapidly developing genre. It brings together composers from leading academic departments and studios in Britain, the United States, Canada and Paris with a wide range of approaches and opinions, resulting in a study which is likely to have a marked impact on current debates on the future of electroacoustic music. The book is divided into three sections. The first, Culture and Language, considers the relationship between music and the listener''s perception and expectation. Materials and Lanugage looks at the types of materials available to composers and the way in which the internal structure of the sound can have implications for the overall structure of a piece. The final section, The Influence of New Technology, considers the relationship between computer systems and the music they are helping to create.

Drawing 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.

Drawing 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.

The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of 'reaching out' and 'connecting together' – and in effect showing that there is emerging a different kind of 'global music'.

First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a creative dialogue with designers and builders, who are usually programmers in the contemporary world. The collection as a whole will help to demonstrate the great potential for exchange between the multidisciplinary approaches to music.

In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.