Un voyage du son par les fils électroacoustiques : l'art et les nouvelles technologies en Amérique Latine (2025)

TA [P] CHAS: References to Indigenous Traditions in Peruvian Electroacoustic Composition of the 1960s

Leonardo Music Journal, 2017

Towards an Electroacoustic Tradition?

Cipriani A. 1995. “Towards an electroacoustic tradition?” in Proceedings of the International Computer Music Conference, pp. 5-8. Banff, Canada: International Computer Music Association, 1995

The principal aspects will be discussed of the hypothesis that a new tradition has come into existence which is based on electronic technology and which overlaps both the oral and the written tradition, influencing their evolution. An attempt is made to demonstrate that this new tradition (designated electroacoustic) introduces modifications in the transmission and context of the repertoire and in composition, performance and listening which are determining a change in musical conception and expression equal to that which occurred in European musical life with the advent of the written tradition.

The Southern Tip of the Electroacoustic Tradition

Circuit: Musiques contemporaines, 2007

Theoretical Frameworks in Brazilian Electroacoustic Music

Organised Sound, 2016

This article is the final stage of seven years of research dedicated to understanding the theoretical backgrounds of Brazilian electroacoustic music in which a significant amount of data was gathered from a series of questionnaires and interviews with Brazilian composers. Our research focuses mainly on the influence of what we have called the historical matrices: musique concrète, elektronische musik and computer music. We were able to determine to some extent how much each of these matrices weigh on the poetic and poiesis of the Brazilian electroacoustic production. We were also able to shed some light on how (and if) Brazilian composers relate to these matrices aesthetically and if their relation to them is merely technical, as well as trying to understand how clear cut the borders are between these two aspects of musical creation. The concepts of oppositional culture (Ogbu 1978) and established and outsiders (Elias and Scotson 2000) also helped us understand the dynamics between ...

Les Musiques Électroacoustiques: Construction of a Discipline

My hypothesis in this paper is that Hugh Davies redefined what electronic music was via his research and documentation work in the 1960s, and, that his definition of electronic music still holds true today (at least as far as electronic music in an academic context is concerned). My argument, in other words, is that Hugh Davies constructed the discipline of what is now known as electroacoustic music. Two questions are as follows. First of all, how did Davies go about constructing a discipline of electroacoustic music? To answer that question I examine Davies’s published and unpublished research work from 1961–1968. Second, to what extent was he successful? Or, to put it another way, to what extent has Davies’s definition of electronic music been accepted? To answer this second question I examine subsequent published literature and projects from 1968–2012 that have cited or been based on Davies’s work, and show how the structure of Davies’s model of electronic music is reflected in this subsequent work. This is a transcript of a presentation given at the 3rd International Conference ‘Music and Technologies,’ Kaunas University of Technology, Lithuania, 15 November 2013. An online version of this paper, comprising slides and recorded narration, is available at http://www.james-mooney.co.uk/em-nov13.

Interdisciplinary Approaches to Sound in Text and Context in Latin America

008-02/2015EN. Overview of the relationship among the United States, Spain and Hispanic America in the field of Sound Art

This reports discusses the presence of Hispanic experimental musicians and sound artists in the United States, as well as the treatment of sound art from this country in the Spanish-speaking cultural context. This is a comparative analysis that examines the situation of this multifaceted aesthetic manifestation in various fields, such as academic, non-institutional spaces, galleries and contemporary art centers, festivals and other broadcast networks.

(Re) Presenting electroacoustic music

Organised Sound, 2006

Art always does more than subsist upon technical progress; for centuries its practice has merged with it, and we should never forget that the first meaning of the word art was technê. However, never before has the relationship between art and technology raised so many questions and provoked so much misunderstanding. As a matter of fact, at the same time as the frontiers of technique continue to recede, the frontiers of art seem more and more difficult to grasp. (Couchot and Hillaire 2003: 15) Organised Sound jos87611.3d 22/5/06 15:21:44

Spanish sound studies

Journal of Spanish Cultural Studies, 2019

Co-hear-ence and Electroacoustic Music

SBC2000 Anais do XX Congresso, 2000

Whether we like it or not an inspection of electroacoustic music and its related studies currently uncovers an island landscape rather than one based upon larger land masses. This paper will suggest that there are several reasons why a less individualistic approach to musical creativity and scholarship might be beneficial to a great many people. After discussing how the notion of an "island mentality" has arisen, specific examples of composition approach and scholarship will be drawn upon to illustrate that we might not be as alone as we think. The paper's conclusion will concentrate on ways to allow individual research to coincide with greater co-hear-ence in the dynamic worlds of music and digital technology.