Organised Sound最新文献

{"title":"Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)","authors":"Y. Mengchun, Xu Zhixin","doi":"10.1017/S1355771822000486","DOIUrl":"https://doi.org/10.1017/S1355771822000486","url":null,"abstract":"Liubai (留白, literally ‘leaving blankness’) is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song ‘Lang Tao Sha’ (浪淘沙), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"338 - 345"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47276857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Prisoner: A missing link in England’s history of electronic music","authors":"S. Gillies","doi":"10.1017/S1355771822000553","DOIUrl":"https://doi.org/10.1017/S1355771822000553","url":null,"abstract":"This article documents the circumstances surrounding the composition of the soundtrack to the theatrical production of Bridget Boland’s The Prisoner in 1954. Roberto Gerhard’s soundtrack to The Prisoner is likely the first piece to utilise ensemble and magnetic tape, and as such potentially the first live performance of musique concrète in England, taking place a year before Gerhard’s significantly more infamous electronic score to King Lear, produced by the Royal Shakespeare Company, and four years prior to the establishment of the BBC Radiophonic Workshop. No master recording or score has been located and details relating to the soundtrack are sparse. This paper attempts to collect available documentation relating to this production, as well as provide new insights relating to potential draft materials stored in the Roberto Gerhard Tape Archive and a previously unknown connection between the production and Pierre Henry and the Groupe de Reserches de Musique Concrète.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"401 - 409"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45207699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today","authors":"A. D. De Ritis","doi":"10.1017/S1355771822000279","DOIUrl":"https://doi.org/10.1017/S1355771822000279","url":null,"abstract":"Current trends in the works of Chinese composers and their electroacoustic music today embrace increased abstraction and individual self-expression, while others celebrate the importance of clear communication and a unified ‘Chinese model’. How is one to derive the current state of a Western art form imported by China, in the context of unparalleled sharing and convergence of ideas made possible by the internet and extensive intercultural exchange in today’s globalised world? And how important is it to identify and measure the level of Chineseness in the artistic output of today’s electroacoustic music composers that embrace Chinese elements – whether born inside or outside of China? This article seeks to unpack some of the current thinking shared by institutional leaders, such as Yu Feng, president of the Central Conservatory of Music; scholars of Chinese electroacoustic music, such as Marc Battier, Ken Fields, Leigh Landy, Yang Yinuo and Annie Yen-Ling Liu; and several composers and thought leaders in the most recent generations of Chinese electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"307 - 315"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43561861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Symphony of Sound Images: Spatial composition strategies in Zhang Xiaofu’s Yarlung Zangbo","authors":"Wang Xinyu, Hu Ting","doi":"10.1017/S1355771822000474","DOIUrl":"https://doi.org/10.1017/S1355771822000474","url":null,"abstract":"Yarlung Zangbo is a multimedia symphony combining orchestra, visual images and electroacoustic music by one of China’s most internationally influential electroacoustic music composers, Zhang Xiaofu. This article focuses on the spatial aspects of Yarlung Zangbo. First, we discuss two different spatial composition preferences in electroacoustic music: image delivery and creation. We then divide the development of electroacoustic orchestral music into three different periods and examine the general spatial intention of the works in these periods. Finally, we analyse and identify four spatial composition strategies of Yarlung Zangbo: equity, virtuosity, diversity and unity. The successful utilisation of these strategies has not only made the piece a milestone in Chinese electroacoustic music, but also a unique and meaningful contribution to the electroacoustic music repertoire worldwide. We believe this article will provide valuable knowledge and insight for future research and practice of spatial composition.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"346 - 357"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48098286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sound and Video Examples – Issue 27(3)","authors":"","doi":"10.1017/S1355771822000577","DOIUrl":"https://doi.org/10.1017/S1355771822000577","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"410 - 410"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46879179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial: Chinese Electroacoustic Music Today","authors":"Marc Battier, Kenneth Fields, A. Liu","doi":"10.1017/S135577182200053X","DOIUrl":"https://doi.org/10.1017/S135577182200053X","url":null,"abstract":"The editors of the issue have, for many years, studied the vertiginous development of electroacoustic music in China. By residing in the country, organising conferences and symposia and creating personal connections, deep relations were established with the musical community. This led not only to the publications of articles, but also to the book Electroacoustic Music in East Asia (Battier and Fields 2020), which had the originality of gathering only contributions by local composers and scholars from East Asia. Much of this was realised as an outcome of the Electroacoustic Music Studies Asia Network (EMSAN), as does this present issue, on the theme of electroacoustic music in China today. Difficulties of translation were expected and encountered for our issue. Another hurdle was that the conception of a scholarly article in electroacoustic musicological research in China follows quite different habits. This led to a substantial amount of discussion between authors and editors. It was of course our premise that the issue would present a portrait of current views on electroacoustic music in China today, mostly from the prism of local composers and scholars who, in the end, have been responsible for the majority of articles. The others came from Western authors who have had a sustained relation with China. Otherwise, the local authors affirm here a Chineseness that is sometimes difficult to grasp for outsiders, no matter how familiar they may be with the culture. The issue opens with two articles by co-editors. Annie Yen-Ling Liu, a scholar who has previously published on Chinese electroacoustic music, investigates the ubiquitous postulation in much of the early literature of a unique compositional language that can be referred to as a ‘Chinese model’. She retraces the concept from the earliest works in the 1980s, up to today. In so doing, she provides a solid conceptual foundation, and the reader will find a superb list of bibliographical references. The second article by coeditor Marc Battier delves into the question of finding stylistic gradients in Chinese electroacoustic music, as he observes that, in China, many composers have crossed boundaries in a fashion rarely observed in other cultures. That consideration resonates deeply with several contributions from Chinese authors in the issue, although Battier discusses the categorisations provided by interculturalism studies. The following contribution written by Zhou Qian, a Shanghai composer and teacher, studies the work of several composers from the perspective of compositional techniques, including sound spatialisation. What is of importance is that the selected composers have studied abroad (Zhou herself having studied at CNMAT, UC Berkeley, and CCRMA, Stanford University). With a foreign advanced education, how these composers address the notion of Chineseness in their work is a theme that emerges in the article. Discussing the state of electroacoustic music in China involved the perspective","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"273 - 274"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43669243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"OSO volume 27 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s1355771823000183","DOIUrl":"https://doi.org/10.1017/s1355771823000183","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"f1 - f2"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41556977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fusion and Application of Chinese Ethnic Elements in Electroacoustic Music in Mist on a Hill","authors":"Yong Ting, Zhou Ran","doi":"10.1017/S1355771822000498","DOIUrl":"https://doi.org/10.1017/S1355771822000498","url":null,"abstract":"The development of computers and technology has made electroacoustic music an important part of modern music. In an effort to broaden the musical dimension and to offer more possibilities for timbral combinations, composers have used various techniques to combine electroacoustic music with acoustic instruments, giving traditional instrumental music a richer timbre, a wider range of pitches and greater sonic expressiveness. The pipa, a typical representative of Chinese music culture, has a long history and its unique timbre is widely loved by electroacoustic music composers. This article uses Marc Battier’s mixed music Mist on a Hill (for pipa and electroacoustic sounds) as an example to explore the integration and practical use of Chinese folk elements in electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"325 - 337"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41354661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"OSO volume 27 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s1355771823000195","DOIUrl":"https://doi.org/10.1017/s1355771823000195","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":" ","pages":"b1 - b2"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47116024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Visual Representation of Timbre","authors":"Mattias Sköld","doi":"10.1017/S1355771822000541","DOIUrl":"https://doi.org/10.1017/S1355771822000541","url":null,"abstract":"This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics. This is achieved by taking the starting point in Lasse Thoresen’s spectromorphological analysis. Symbols originally developed for perception-based analysis are adapted for use over a hybrid spectrum-staff system to indicate the spectral qualities of timbre. To test the system, it was used to transcribe excerpts of three classic electroacoustic music works. In addition to the benefit of being able to compare the three excerpts transcribed with the same system, there is the advantage that the visual representation is based on spectral measurable qualities in the music. The notation system’s intuitiveness was also explored in listening tests, showing that it was possible to understand spectral notation symbols placed over a staff system, particularly for examples with two sound objects instead of one.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"387 - 400"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}