The Cambridge Companion to Electronic Music最新文献

The Cambridge Companion to Electronic Music Pub Date : 2007-12-01 DOI: 10.1017/CCOL9780521868617.003

A. Hugill

{"title":"The origins of electronic music","authors":"A. Hugill","doi":"10.1017/CCOL9780521868617.003","DOIUrl":"https://doi.org/10.1017/CCOL9780521868617.003","url":null,"abstract":"Classical visions We have also sound-houses, where we practise and demonstrate all sounds and their generation. We have harmony which you have not, of quarter-sounds and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have; with bells and rings that are dainty and sweet. We represent small sounds as great and deep, likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voices and notes of beasts and birds. We have certain helps which, set to the ear, do further the hearing greatly; we have also divers strange and artificial echoes, reflecting the voice many times, and, as it were, tossing it; and some that give back the voice louder than it came, some shriller and some deeper; yea, some rendering the voice, differing in the letters or articulate sound from that they receive. We have all means to convey sounds in trunks and pipes, in strange lines and distances. Francis Bacon, The New Atlantis (1626) The origins of electronic music lie in the creative imagination. The technologies that are used to make electronic music are a realisation of the human urge to originate, record and manipulate sound. Although the term electronic music refers specifically to music made using electronic devices and, by extension, to certain mechanical devices powered by electricity, the musical possibilities that these technologies have opened up are a recurring theme in literature, art, engineering and philosophy. But it was not until the turn of the twentieth century, when electronic and electromechanical instruments started to become a physical reality, that certain forward looking musicians began to turn to the new possibilities already imagined by others. Francis Bacon's celebrated description of a modern sound studio is one of many examples of such a creative imagination. The New Atlantis , written in 1624 and published in 1626, was a utopian tale of mariners in the southeastern seas who were shipwrecked upon an island containing a model civilisation, in which science and spirituality found union. The ‘sound-houses’ passage is one of a series of descriptions, given by the island's governor, of its various knowledge resources and houses of learning.","PeriodicalId":221189,"journal":{"name":"The Cambridge Companion to Electronic Music","volume":"187 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132869179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Electronic music and the moving image 电子音乐和动态影像

The Cambridge Companion to Electronic Music Pub Date : 2007-12-01 DOI: 10.1017/ccol9780521868617.011

J. D'Escrivàn

引用次数: 2

Live electronic music 现场电子音乐

The Cambridge Companion to Electronic Music Pub Date : 2007-12-01 DOI: 10.1017/CCOL9780521868617.005

Nicolas Collins

{"title":"Live electronic music","authors":"Nicolas Collins","doi":"10.1017/CCOL9780521868617.005","DOIUrl":"https://doi.org/10.1017/CCOL9780521868617.005","url":null,"abstract":"It is perhaps a general human habit to view the technological and the organic as opposites. It is certainly the case that the phrase ‘live electronic music’ strikes many a music fan as oxymoronic. Isn't the purpose of electronics to do things for us so we don't have to do them ‘live’ ourselves? To record, perfect and play back performances so we can listen while cycling stationarily? To facilitate the creation of inhumanly intricate compositions that spew themselves out of speakers at the touch of a button, instead of all that messy sliding about on strings? While there is no question that composers of tape music and computer music (and a fair number of pop music producers as well) have employed electronics to exactly these ends, electronic technology has another, and possibly more profound power: enabling new and volatile connections. Don't think Edison, think Alexander Graham Bell. Since the 1930s (well before the advent of tape) composers have been using this property of electronics to produce not just new sounds but fundamentally new approaches to organising the sonic world. Pre-history Electronic music has its pre-history in the age of steam. In 1897 Thaddeus Cahill patented the Telharmonium, a machine that weighed in at over two hundred tons and resembled a power station more than a musical instrument. It generated sine tones with dynamos, played from an organ-like keyboard. Cahill understood that electricity could provide not only sound but a means of distribution as well: the Telharmonium's sounds were carried over the telephone lines that were beginning to be laid in major cities, intended for playback through speaker systems in restaurants, hotel lobbies and homes of the rich. Cahill envisaged a subscription-based music service, not unlike that of the Muzak corporation thirty-seven years later, but unlike pre-recorded Muzak, the Telharmonium was an instrument that had to be played to be heard.","PeriodicalId":221189,"journal":{"name":"The Cambridge Companion to Electronic Music","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116622464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 12

The psychology of electronic music 电子音乐的心理学

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.014

P. Toiviainen

引用次数: 4

A history of programming and music 编程和音乐的历史

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/9781316459874.006

Ge Wang

引用次数: 22

Interactivity and live computer music 互动性和现场电脑音乐

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.007

S. Jordà

引用次数: 15

Electronic music and the studio 电子音乐和录音室

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.004

M. Schedel

引用次数: 1

Live audiovisuals

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.009

A. Alexander, Nick Collins

引用次数: 2

Algorithmic composition 算法组成

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.008

Karlheinz Essl

引用次数: 21

Trends in electroacoustic music 电声音乐的趋势

The Cambridge Companion to Electronic Music Pub Date : 1900-01-01 DOI: 10.1017/ccol9780521868617.015

N. Barrett

引用次数: 8