The History of Electronic Music as a Reflection of Structural Paradigms

1996 ◽  
Vol 6 ◽  
pp. 41 ◽  
Author(s):  
Joel Chadabe
Keyword(s):  
Electronic Music ◽  
History Of

In Search of Space: The Trope of Escape in German Electronic Music around 1968

2016 ◽  
Vol 26 (2) ◽  
pp. 339-352
Author(s):  
TIMOTHY SCOTT BROWN
Keyword(s):  
Federal Republic ◽  
Electronic Music ◽  
Historical Context ◽  
The Political ◽  
Central Theme ◽  
Musical Genre ◽  
History Of ◽  
The 1960S

‘In Search of Space’ explores the history of Krautrock, a futuristic musical genre that began in Germany in the late 1960s and flowered in the 1970s. Not usually explicitly political, Krautrock bore the unmistakable imprint of the revolt of 1968. Groups arose out of the same milieux and shared many of the same concerns as anti-authoritarian radicals. Their rebellion expressed, in an artistic way, key themes of the broader countercultural moment of which they were a part. A central theme, the article argues, was escape – escape from the situation of Germany in the 1960s in general, and from the specific conditions of the anti-authoritarian revolt in the Federal Republic in the wake of 1968. Mapping Krautrock's relationship to key locations and routes (both real and imaginary), the article situates Krautrock in relationship to the political and cultural upheavals of its historical context.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

Live Wires: A History of Electronic Music

Leonardo ◽  
2018 ◽  
Vol 51 (5) ◽  
pp. 538-539
Author(s):  
John F. Barber
Keyword(s):  
Electronic Music ◽  
History Of

Electronic music and life

2004 ◽  
Vol 9 (1) ◽  
pp. 3-6 ◽  
Author(s):  
JOEL CHADABE
Keyword(s):  
Electronic Music ◽  
The World ◽  
History Of ◽  
Dominant Paradigm ◽  
The Way

At any moment in the history of a particular culture, there exists a dominant paradigm, an idea in the air, that expresses the way the world works. These paradigms are general and their manifestations are interdisciplinary, first expressed as structures, relationships and processes in the avant gardes of all fields, then gradually accepted as a norm by almost everyone.

FROM ANALOGUE TO DIGITAL: AN INTERVIEW WITH GOTTFRIED MICHAEL KOENIG

Tempo ◽  
2016 ◽  
Vol 70 (276) ◽  
pp. 43-55 ◽  
Author(s):  
Jennifer Iverson
Keyword(s):  
Electronic Music ◽  
English Language ◽  
Computer Systems ◽  
History Of ◽  
The Hague ◽  
Analogue To Digital ◽  
Complex Computer

AbstractGottfried Michael Koenig (b. 1926) is a seminal figure in the history of electronic music. He contributed important technical and musical ideas at WDR studio in Cologne from 1954 to 1964. He was then the director of the Institute of Sonology in Utrecht, Netherlands until 1986. Since 1986, Koenig has continued to compose, to develop complex computer systems, and to edit, translate, and publish his extensive corpus of theoretical writings.1 This conversation, which aims to foster further English-language scholarship on Koenig and his music,2 took place in English in May 2015 at the Institute of Sonology, now located in The Hague, Netherlands.

scholarly journals Articulação sonora e visual em performances intermédia site-specific

2020 ◽  
Author(s):  
Frederico Miguel da Cruz Dinis
Keyword(s):  
Electronic Music ◽  
Aesthetic Experience ◽  
Local Context ◽  
Site Specific ◽  
Art And Technology ◽  
Starting Point ◽  
History Of ◽  
Experimental Approaches ◽  
The Aesthetic ◽  
Specific Sense

Aiming to explore the diverse nature of sound and image, thereby establishing a bridge with the symbiotic creation of sensations and emotions, this paper aims to present the development and construction of a proposal for the creation of site-specific performances, based on sound and visual articulation and intermedia practices.Using as focal points several places, the authors try to look beyond time and develop site-specific intermedia performances, attempting to understand the past and sketching new configurations for the (re)presentation of these places identity, guiding the audience through a journey of perceptual experiences, using ambient electronic music, soundscapes and videos.This presentation also aims to present a practice-as-research project, which had as its starting point the apprehension of memories and the history of these places, emphasizing concepts such as local context, site-specific, sense of place and identity.For this, the authors present the development of some experimental approaches and critical forms of expression and communication that relate or incorporate sound and visual mediums. They also bring forward some concerns about the aesthetic experience and communicative functionality, and how the relationship between art and technology has an effect on artistic culture and new contemporary site-specific intermedia performances.

The cultural production of Cabaret Voltaire: Marxism, the politics of modernism and post-punk

2021 ◽  
Vol 00 (00) ◽  
pp. 1-17
Author(s):  
Nick Stevenson
Keyword(s):  
Popular Culture ◽  
Cultural Production ◽  
Electronic Music ◽  
Critical Assessment ◽  
Aesthetic Theory ◽  
Avant Garde ◽  
History Of ◽  
Critical Understanding ◽  
Post Industrial ◽  
The Relationship

This article explores the contribution of Cabaret Voltaire to the history of industrial and electronic music in the late 1970s and early 1980s. Heavily influenced by the music of Kraftwerk, the Cabs drew upon the dystopian landscapes of William Burroughs to create a paranoid soundscape. Like Kraftwerk, Cabaret Voltaire’s music was influenced by the artistic movements of the twentieth century (most prominently Dada) and drew upon modernist techniques. Especially significant in this regard was their location within post-industrial Sheffield and the ideologies of post-punk more generally. This discussion offers a critical assessment of Cabaret Voltaire as a form of avant-garde music that sought to carefully position itself in the context of the cultural politics of the late 1970s and early 1980s. Primarily through the work of Marxist aesthetic theory, I seek to offer a critical appreciation of the relationship between Cabaret Voltaire and the influence of Dada and modernism. The aim of the discussion is to reclaim a more critical understanding of Marxism while exploring its arguments in relation to artistic forms of modernism and popular culture. Especially important at this juncture is the rejection of the cultural populism of postmodernism and the reclaiming of a more critical language of evaluation and critique. Here the argument is that whatever Cabaret Voltaire’s limitations they continue to remind us of modernism’s ongoing capacity to offer arresting forms of art and critique.

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