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`Download Book ↠ Living Electronic Music ☟ Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices Whether created in a studio or performed on stage, how does electronic music reflect what is live and living What is it to perform live in the age of the laptop Many performer composers draw upon a library of materials, some created beforehand in a studio, some coded on the fly , others plundered from the widest possible range of sources But others refuse to abandon traditionally created and structured electroacoustic work Lying behind this maelstrom of activity is the perennial relationship to theory , that is, ideas, principles and practices that somehow lie behind composers and performers actions Some composers claim they just respond to sound and compose with their ears , while others use models and analogies of previously non musical processes It is evident that in such new musical practices the human body has a new relationship to the sound There is a historical dimension to this, for since the earliest electroacoustic experiments inthe body has been celebrated or sublimated in a strange dance of forces in which it has never quite gone away but rarely been overtly present The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker Emmerson considers these issues in the framework of our increasingly acousmatic world in which we cannot see the source of the sounds we hear Autism and the God Connection: Redefining the Autistic Experience Through Extraordinary Accounts of Spiritual Giftedness Simon Emmerson provides a significant contribution to the study of contemporary music La Mina Lisa bridging history Stepbrother Bastard (Hawthorne Brothers aesthetics and the ideas behind evolving performance practices Whether created in a studio or performed on stage The Deniers: The World Renowned Scientists Who Stood Up Against Global Warming Hysteria, Political Persecution, and Fraud - and Those Who are Too Fearful to Do So how does electronic music reflect what is live and living What is it to perform live in the age of the laptop Many performer composers draw upon a library of materials Ravishing Ruby some created beforehand in a studio Wipe Away the Tears some coded on the fly Fire With Fire others plundered from the widest possible range of sources But others refuse to abandon traditionally created and structured electroacoustic work Lying behind this maelstrom of activity is the perennial relationship to theory One Thousand and One Arabian Nights that is Viaţa şi moartea nefericitului Filimon ideas The Greek Way principles and practices that somehow lie behind composers and performers actions Some composers claim they just respond to sound and compose with their ears Catwalk and Overpass while others use models and analogies of previously non musical processes It is evident that in such new musical practices the human body has a new relationship to the sound There is a historical dimension to this In a Metal Web for since the earliest electroacoustic experiments inthe body has been celebrated or sublimated in a strange dance of forces in which it has never quite gone away but rarely been overtly present The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker Emmerson considers these issues in the framework of our increasingly acousmatic world in which we cannot see the source of the sounds we hear