scholarly journals Illuminating musical code: Program an electronic music performance in real time - [Resources_Hands On]

IEEE Spectrum ◽  
2019 ◽  
Vol 56 (09) ◽  
pp. 14-15
Author(s):  
Stephen Cass
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Music Performance

Towards Unified Design Guidelines for New Interfaces for Musical Expression

2009 ◽  
Vol 14 (2) ◽  
pp. 142-155 ◽  
Author(s):  
Garth Paine
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Visual Cues ◽  
Music Performance ◽  
Design Guidelines ◽  
Laptop Computer ◽  
Time Performance ◽  
Musical Works ◽  
Music Community ◽  
Computer Keyboard

The use of a laptop computer for musical performance has become widespread in the electronic music community. It brings with it many issues pertaining to the communication of musical intent. Critics argue that performances of this nature fail to engage audiences because many performers use the mouse and/or computer keyboard to control their musical works, leaving no visual cues to guide the audience as to the correlation between performance gestures and musical outcomes. The author will argue that interfaces need to communicate something of their task and that cognitive affordances (Gibson 1979) associated with the performance interface become paramount if the musical outcomes are to be perceived as clearly tied to real-time performance gestures – in other words, that the audience are witnessing the creation of the music in that moment as distinct to the manipulation of pre-recorded or pre-sequenced events. Interfaces of his kind lend themselves particularly to electroacoustic and computer music performance where timbre, texture and morphology may be paramount.

scholarly journals Performers of the night: Examining the mental health of electronic music artists

2021 ◽  
pp. 030573562097698
Author(s):  
Jolan Kegelaers ◽  
Lewie Jessen ◽  
Eline Van Audenaerde ◽  
Raôul RD Oudejans
Keyword(s):  
Mental Health ◽  
Social Support ◽  
Sleep Disturbance ◽  
Electronic Music ◽  
Music Performance ◽  
Well Being ◽  
Cross Sectional ◽  
Music Performance Anxiety ◽  
Symptoms Of Depression ◽  
Levels Of Functioning

Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.

Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance

Leonardo ◽  
2016 ◽  
Vol 49 (3) ◽  
pp. 203-210 ◽  
Author(s):  
Shaltiel Eloul ◽  
Gil Zissu ◽  
Yehiel H. Amo ◽  
Nori Jacoby
Keyword(s):  
Electronic Music ◽  
Motion Tracking ◽  
Music Performance ◽  
Three Dimensional ◽  
Extra Information

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

The Confluence Between Materiality and Immateriality in Site-Specific Sound and Visual Performances

2020 ◽  
pp. 64-96
Author(s):  
Frederico Dinis
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
Experimental Approach ◽  
Focal Point ◽  
Visual Performance ◽  
Site Specific ◽  
Visual Narratives ◽  
Field Recordings ◽  
The Past

Aiming to explore the diverse nature of sound and image, thereby establishing a bridge with the symbiotic creation of sensations and emotions, this chapter intends to present the development and the construction of a proposal for the confluence between materiality and immateriality in site-specific sound and visual performances. Using as a focal point sound and visual narratives, the author tries to look beyond space and time and create a representative atmosphere of sense of place, attempting to understand the past and sketching new configurations for the (re)presentation of identity, guiding the audience through a journey of perceptual experiences, using field recordings, ambient electronic music, and videos. This chapter also presents the development of an experimental approach, based on a real-time sound and visual performance, and some critical forms of expression and communication that relate or incorporate sound and image, articulating concerns about their aesthetic experience and communicative functionality.

Electronic Music

Artful Noise ◽  
2020 ◽  
pp. 107-117
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
Real Time ◽  
Electronic Music ◽  
John Cage ◽  
World War ◽  
Karlheinz Stockhausen ◽  
Edgard Varese ◽  
American Composer ◽  
The Difference ◽  
Musique Concrete

With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.

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