Organised Sound最新文献

{"title":"Charting the Scene(s) of Sonic Arts in Hong Kong","authors":"Ryo Ikeshiro, Damien Charrieras, P. Lindborg","doi":"10.1017/S1355771822000450","DOIUrl":"https://doi.org/10.1017/S1355771822000450","url":null,"abstract":"This article analyses recent developments of sonic art in Hong Kong. Based on a series of in-depth interviews with 23 local sonic art practitioners over the past six years, we discuss the contextual understanding of what constitutes ‘sonic art’ among local practitioners, along neighbouring terms such as ‘electroacoustic music’, ‘experimental music’ and ‘computer music’. We also give a description of the new generation of sonic art practitioners who emerged over the past ten years, contributing to a renewed sense of professionalism. These developments can be understood in relation to four aspects: a strong cluster of interrelated higher education institutions; a shift in public policy supporting ‘art and tech’ projects and cultural organisations; specific individuals, practitioners deeply invested in what we here define as sonic arts, acting as passeurs, connecting underground and academic milieux; and the international integration of Hong Kong-based sonic artists and promoters.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"369 - 378"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47411908","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":"Compositional Techniques and Sound Spatialisation in Shanghai-Based Electronic Music since 2000","authors":"Zhou Qian","doi":"10.1017/S1355771822000516","DOIUrl":"https://doi.org/10.1017/S1355771822000516","url":null,"abstract":"To create a bridge between young students and senior scholars, the Shanghai Conservatory invited musicians who studied abroad to teach at the Conservatory beginning in the early 2000s. The result was the return to Shanghai of prominent composers. This article examines the impact of this project on electronic music composition and teaching and suggests how these developments relate to the broader historical context of Chinese electronic music. Through an analysis of representative works, it surveys compositional techniques and approaches to sound diffusion and spatialisation among composers associated with the Shanghai Conservatory. It demonstrates how these techniques, which reflect the international training of these composers, are used to express a range of subjects from abstract and philosophical concepts to concrete aspects of nature and human action.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"294 - 306"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42646548","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":"Crossing Lines: Stylistic gradients in Chinese electroacoustic music","authors":"Marc Battier","doi":"10.1017/S1355771822000449","DOIUrl":"https://doi.org/10.1017/S1355771822000449","url":null,"abstract":"In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however limiting myself to it, also dealing with contemporary Western-style instrumental music. Several authors have discussed the question of the relationship between contemporary creation and certain stylistic factors of Asian cultures. They questioned what might constitute identifiable traits unique to Asia that could be observed in contemporary creations and they sought to determine whether systems of relationships can be established. Some, such as Chou Wen-Chung (周文中 Zhou Wenzhong), emphasised syncretism, thus establishing a link with the works of anthropology and cultural studies. In his 1971 article, ‘Asian Concepts and Twentieth-Century Western Composers’, Chou cites many examples that tend to emphasise notions of integration and syncretism across various stylistic gradients found in many composers, mostly Western. More recently, musicologist Yayoi Uno Everett described distinct categories in these relationships, on the part of both Asian and Western composers. This article attempts to find which cultural gradients can be observed in the electroacoustic music production of Chinese composers. For instance, the specific case of mixed music creates an unprecedented situation of contact between instrument and sound material in the context of renewed intercultural relations.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"284 - 293"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43093121","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":"Catching Up with the West? Historiographical stances in early accounts of Chinese electronic music","authors":"A. Liu","doi":"10.1017/S1355771822000462","DOIUrl":"https://doi.org/10.1017/S1355771822000462","url":null,"abstract":"The emergence of electroacoustic music in China began much more recently than in Europe, the United States, North America, and Japan. Scholars have located the mid-1980s as the turning point in this development. Although consensus is lacking about the exact events and influences that initiated this field of musical production, a pervasive issue confronting historiographical scholarship has been the belatedness of this production. Linked to the trope of belatedness is an acknowledgement of the extremely rapid development of Chinese electroacoustic music, which both assimilated Western technologies and asserted distinctive national characteristics. Furthermore, one of the pioneers in the field, Zhang Xiaofu, has argued that a distinctive ‘Chinese model’ of electroacoustic music marked by stylistic hybridity and integration quickly emerged after this inception. The resulting ‘syncretism’ of practices has generated extensive reflection among Chinese composers and critics.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"275 - 283"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46774790","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":"Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction","authors":"I. Simurra, Marcello Messina, Luzilei Aliel, Damián Keller","doi":"10.1017/S1355771822000322","DOIUrl":"https://doi.org/10.1017/S1355771822000322","url":null,"abstract":"This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants. Creative Semantic Anchoring (ASC from the original in Portuguese) is a creative-action metaphor that shows promising preliminary results in collaborative asynchronous activities. Given its grounding in local resources and its support for explicit knowledge, ASC features a good potential to boost socially distributed knowledge. We discuss three strategies that consolidate and expand this approach within ubiquitous music and propose the label Radical ASC. We investigate the implications of this framework through the analysis of two artistic projects: Atravessamentos and Ntrallazzu.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"64 - 77"},"PeriodicalIF":0.6,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47897492","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":"Electroacoustic Improvisation and the Metaphysical Imaginary","authors":"M. Noone","doi":"10.1017/S135577182100056X","DOIUrl":"https://doi.org/10.1017/S135577182100056X","url":null,"abstract":"In a previous edition of Organised Sound, I discussed the potential for using the North Indian sarode in electroacoustic music. In that article, I explored how electroacoustic music artists manage to integrate multiple cultural frameworks, while also acknowledging the importance of personal artistic agency. The primary question that emerged from that research is extended in this article: how does an electroacoustic performer of a non-Western instrument improvise outside the idiom of their tradition? In order to address this question, I draw on Tomlinson’s concept of the metaphysical imaginary. In my own performance practice, I employ the metaphysical imaginary as a framework to explore a transcultural, transcendent, perhaps even spiritual potential of electroacoustic improvisation. The metaphysical imaginary will be explored in two dimensions: the synchronic and the diachronic. The synchronic dimension looks horizontally across cultures, while the diachronic dimension looks in a temporal verticality, looking inwards and downwards, to a time before modern culture. In the article, I discuss the performance practice of other musicians working across different cultural frames who explore the metaphysical in their improvisations. The article also looks backwards in cultural historical time and investigates how improvisers draw inspiration from a pre-modern cultural world, combining these imaginaries with modern sound techniques. I will situate my own work within this mosaic of practices, concluding with a discussion of electroacoustic improvisations using the sarode, extended technique and the re-imagining of pre-historic sonic rituals.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"172 - 181"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46397622","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: The sonic and the electronic in improvisation, part 2","authors":"James Andean","doi":"10.1017/S1355771823000110","DOIUrl":"https://doi.org/10.1017/S1355771823000110","url":null,"abstract":"This is the second issue on the topic ‘The sonic and the electronic in improvisation’, the first – Organised Sound 26(1) – having appeared in April 2021. The articles in that first volume coalesced around some interesting themes, including networked communication in electroacoustic improvisation, the electroacoustic extension of acoustic instruments, the ‘performer plus’ paradigm, the instrument as co-performer, and the electronic ‘other’. Interestingly, there is a different set of threads running between the articles in this second issue, giving it a rather different flavour than its predecessor. Prime among the themes found here is the analysis of improvisation, which is explicitly tackled in Pierre Couprie’s article but also plays an important role in articles by Lauri Hyvärinen, Alex White, Drake Andersen and James Andean. Articles by Luigi Marino and Lauri Hyvärinen examine and compare different improvisation communities, displaced and/or connected both geographically and aesthetically. While practitioner perspectives were included in the first issue, most clearly in Alistair MacDonald’s article on ‘Co-estrangement in live electroacoustic improvisation’, this thread is taken up again in this second issue in articles by John Richards and Tim Shaw, Matthew James Noone, Luigi Marino and James Andean. All of this, I think, gives the two issues rather different ‘flavours’: where issue one covered a variety of substantially different contexts for improvisation, in terms of both technical approaches and philosophy, issue two is a bit more musicological and, to some extent, more explicitly people centred. The first article, my own contribution ‘Group Performance Paradigms in Free Improvisation’, discusses differences in performer perspective in smallensemble free improvisation, and groups these into four key paradigms, followed by analysis of key examples drawn from the broader field of sonic and electroacoustic improvisation. This is followed by Pierre Couprie’s ‘Analytical Approaches to Electroacoustic Music Improvisation’, which proposes techniques for using visualisation tools for the analysis of free improvisation, within the broader context of electroacoustic analysis. Couprie constructs a framework based on three pillars: acoustic analysis, music analysis and the design of graphic representations. This framework is demonstrated by applying it to extracts of electroacoustic improvisations performed by Les Phonogénistes, of which Couprie is himself a member. In ‘New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium’, Luigi Marino compares and contrasts two key geographic centres of the European scene: Echtzeitmusik in Berlin and the New London Silence in London. Marino includes detailed interview material with key improvisors in each of these scenes to illuminate their approaches to electronics, and the possible relationship(s) between these and their broader performance styl","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"103 - 105"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44473082","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":"Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville","authors":"Filipa Magalhães","doi":"10.1017/S1355771822000346","DOIUrl":"https://doi.org/10.1017/S1355771822000346","url":null,"abstract":"This article discusses the compositional taxonomy of music theatre works by Constança Capdeville (1937–92) and offers a way to analyse her music and collaborative processes and also the performance of her work through a case study of the piece Double. Capdeville’s works include different elements such as music, settings (staging), movement, text, tape-recorded sound, visual image, props, costumes and lighting. Documentation for the compositions is scattered across different sources or simply lost, making it difficult to reconstruct the works as they have improvised hypothetical components and idiosyncratic or non-standard notations. Using a type of musicological archeology, I want to contribute to the understanding of gesture, language and communication in Capdeville’s works. I aim to preserve the works, particularly by highlighting the collaborative approach of the composer and proposing ways of establishing a documentation process for these aspects in order to systematise the works. I focus on the use of technology of magnetic tape as both a source of listening (the tapes provide a recording of the entire performance) and an instrument (tape recordings are given parts in the composition of the piece). Technology is also an important analytical tool because it helps to track collaborative creative processes. The iAnalyse software is used to help reconstruct and interpret music theatre works.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"193 - 205"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45674712","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":"Peter Manning 1948–2022","authors":"Michael Clarke, Frédéric Dufeu, B. Truax","doi":"10.1017/s1355771822000395","DOIUrl":"https://doi.org/10.1017/s1355771822000395","url":null,"abstract":"Peter Manning first established an international reputation with his book Electronic and Computer Music, originally published by Oxford University Press in 1985 and now in its fourth edition (Manning 2004). The book presents a detailed account of the technical and creative evolution of electronic music from its earliest days. Starting from Thaddeus Cahill’s 1897 patent application for the Dynamophone, it traces developments in North America and Europe and discusses a range of analogue techniques including tape manipulation and voltage-controlled synthesisers. Later chapters consider the digital revolution that followed, including developments in MIDI and digital workstations. In later editions, the sections on computer music were significantly revised and expanded to reflect the major and rapid transformation of the field. A distinctive feature of the book is the way it combines detailed historical information and thorough explanations of technical developments, often clarified by use of explanatory diagrams, with insightful accounts of the musical repertoire produced using this technology. The book was derived from Peter’s PhD thesis at Durham University in which he surveyed and analysed numerous contemporaneous texts documenting developments in minute detail.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"267 - 269"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43826870","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 2 Cover and Back matter","authors":"","doi":"10.1017/s1355771823000171","DOIUrl":"https://doi.org/10.1017/s1355771823000171","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"b1 - b2"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107809","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}