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Topic: Electroacoustic

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	Electroacoustic - Wikipedia, the free encyclopedia
		Electroacoustic compositions also often explore spatial characteristics of sound, as sounds can be given trajectories, and can be placed in distant or near fields of listening.
		Electroacoustic music is typically less preoccupied with the 'traditional' concerns of score-based music- rhythm and melody- and more concerned with the interplay of gesture and texture, and what Denis Smalley has termed 'spectromorphology'- the sculpting of the sound spectrum in time.
		Electroacoustic music is closely related to Electronica by technique; recently many popular electronica artists have been influenced by electroacoustic composers, for instance Amon Tobin, Autechre, Aphex Twin, and Squarepusher.
	en.wikipedia.org /wiki/Electroacoustic (879 words)

	Electroacoustic music (Site not responding. Last check: 2007-10-21)
		Electroacoustics uses sound sources as diverse as natural sounds (which can be picked up by microphone), analog electronics (produced by equipment such as synthesizers) and digital (generated or processed by digital means).
		These sources may subsequently be processed and organized by electroacoustic techniques or by digital means before, in many cases, being stored on or presented by an electromagnetic medium.
		Moreover, it is essential to lay stress on technological evolution and its impact on the general flowering of electroacoustics, especially from the early 1970s on.
	www.thecanadianencyclopedia.com /index.cfm?PgNm=TCE&Params=U1ARTU0001112 (148 words)

	[No title]
		This historically made electroacoustic music part of research sponsored by the communication companies like Bell Telephone Laboratories in America or the WDR in Cologne, Germany, but today the presence of electroacoustic music (popular music excluded) in the media seems to be rare in Germany while contemporary instrumental music continues to be widely available.
		In the beginning of electroacoustic music, musique concrete and electronic music developed a style of their own with a separate esthetic while there was no acceptance of this within the established contemporary instrumental music scene.
		Since electroacoustic music does not go through this process of modification, a bad piece will be played as poorly as it is, and even a good piece has more problems in the process of communication because no common interpretational grammar helps in the communicative process.
	www.create.ucsb.edu /~stp/PostScript/So_Good_So_Bad (3179 words)

	Electroacoustic Music
		Also, since a large part of the electroacoustics program is dedicated to recording techniques, many of our students are technicians rather than composers; but they require a good knowledge of music nonetheless.
		Electroacoustic music was therefore integrated early on into the composition program, but since 1990, under the leadership of composer Bruce Pennycook, the university has developed a very specific program called Music Technology, which is associated with the faculty's Theory Department.
		EMS professors give courses in electroacoustic composition to students who, in increasing numbers, are pursuing graduate studies at the master's and doctoral levels.
	www.scena.org /lsm/sm9-2/Musique-electroacoustique-en.htm (981 words)

	Homoeroticism & Electroacoustic Music
		The absence of gay themes and homoeroticism in electroacoustic music is discussed within the context of issues of gender and music that have been raised in the last decade.
		Before we rush to condemn the electroacoustic music community as 'behind the times', it might be wise to survey the role of gay artists in the music field generally.
		Secondly, electroacoustic music emerged during the post World War II era when male control of technology, from educational and consumer training through to the engineering profession in general, and audio engineering in particular, was the norm (Truax, 1992b, 2001).
	www.sfu.ca /~truax/os6.html (4764 words)

	bourges
		The electroacoustic community is supported mainly by its own practitioners as a kind of "parallel culture", the best result of which is that it is vibrant and open-ended, the less fortunate aspect being that it can be insular and not very self-critical.
		An equally serious aspect of electroacoustic music today is that it essentially doesn't exist in terms of the mass media.
		Electroacoustic music has grown out of the 20th century "tradition" of experimental art and is neither elitist nor populist.
	www.sfu.ca /~truax/bourges2.html (2642 words)

	Electroacoustic
		"Electroacoustic refers, not to a hypothetical style, but to an assortment of various techniques by which composers are freed to work in whatever style they choose.
		Electroacoustic describes music in which the use of an electronic component is vital to the piece.
		The one principal that all these electroacoustic composers share is a refusal to submit themselves, in Varèse’s words: “...only to sounds that have already been heard.” The RCA synthesizer at Columbia-Princeton Electronic Music Centre allowed low and high pass filtering along with noise, glissando, tremolo and patchable resonance and attenuation sections.
	www.clubi.ie /amhiggins/electroacoustic.html (2433 words)

	Acoustic and Electroacoustic Spectroscopy (Site not responding. Last check: 2007-10-21)
		Both acoustic and electroacoustic spectroscopy are related to a sound propagation through a heterogeneous system such as a suspension or an emulsion.
		Acoustic and electroacoustic spectroscopy are independent methods because the attenuation has little effect on the electroacoustic spectra and conversely electrokinetic phenomena have negligible effect on the attenuation spectra.
		Electroacoustic spectroscopy, in certain cases, can provide a more complete characterization but requires assumptions about the sample which may not be valid, particularly in concentrated systems.
	pubs.acs.org /cgi-bin/abstract.cgi/langd5/1996/12/i18/abs/la951086q.html (262 words)

	The Electroacoustic Situation in Canada
		However, the fact that the electroacoustic community was one of the first to hook up to the Internet has enabled individuals isolated in their respective towns or cities to be connected to their peers and the world in a much more tangible way than before.
		Electroacoustics is a musical discipline that is quite distinct from instrumental music and electroacoustic concerts obey other laws and a different logic.
		Surely all the electroacoustic centres in the country, including all the places that have even the most minimal form of infrastructure, are not in a position to equip themselves with permanent facilities to put on electroacoustic performances.
	cec.concordia.ca /econtact/profile/ElectroacousticSituation.htm (8999 words)

	Enculturation: Ian Whalley
		The history of the electroacoustic idiom in New Zealand up to 1980 seemed a secure one while it was supported by the academic system, in a period when the country was relatively affluent.
		Traditionally, electroacoustic music has been distributed through concert music settings or CD, reinforcing the art music [33] proposition that music is something set apart that needs to be sat and listened to independent of other events.
		Electroacoustic is used throughout to note the possibility of combining live music with electronic music.
	enculturation.gmu.edu /2_2/whalley.html (4701 words)

	Splendid E-zine: Departments: Avant What?
		Of all demanding music (you remember, that's the topic of this monthly column?), electroacoustic music is often considered to be the most difficult type, and also the most misunderstood.
		Electroacoustic music is not music in the traditional sense and it never was intended to be.
		Listening to an electroacoustic piece is like studying a sculpture from every angle...or like "watching" a sound movie, hence the expression "cinema for the ear".
	www.splendidezine.com /departments/avantwhat (940 words)

	Electroacoustic Ecology in Canada: Bicycle Orchestras and Radio Pirates (Site not responding. Last check: 2007-10-21)
		I was very excited upon hearing about the theme of this conference, sound-installation and media-composition in the digital age, as I find the combination of site-specific installations and electroacoustics a particularly provocative, expressive and challenging medium, and it is timely that we discuss the implications of sound in media installations.
		This festival became the pillar of my exploration of the relationship between electroacoustics and ecology, and is the subject of this presentation.
		The Bicycle Orchestra was first conceived in 1991 as a way of combining the bicycle as ecological mode of transportation with the notion of using recycled materials for the construction of invented electroacoustic instruments.
	interact.uoregon.edu /MediaLit/wfae/readings/schryer2.html (3162 words)

	What is ElectroAcoustic music
		Electroacoustic Music is that which uses technology as a tool and gives the composer access to virtually any sound.
		Electroacoustic is an amalgam between Electricity and Acoustic - how sound (pressure variations in the air) gets converted to electricity by microphones, gets recorded and treated, and is finally converted from electricity to pressure vibrations in the air by loudspeakers.
		Electroacoustic music does not have to rewrite its own language for each piece and should not be dismissed for baring resemblance to anything.
	music.concordia.ca /Programs/Electroacoustics/EaMusic.html (1486 words)

	Montreal's electroacoustic composers
		Fifty years after the birth of musique concrète (and a few changes in name, like electroacoustic or acousmatique music), Pierre Schaeffer's break is certainly not lost on Jean-François Denis.
		So Denis and composers Robert Normandeau and Gilles Gobeil, a trio who make up the electroacoustic promotional body Réseaux, are using the 50th anniversary of musique concrète to try to make their point once again.
		And while the presence of the composers is a nice touch, it's certainly not needed in electroacoustics, where the recorded works are played for the audience via a surround-sound style set up of 20 loudspeakers.
	www.montrealmirror.com /ARCHIVES/1998/021298/music1.html (550 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Background Of The Invention Electroacoustic transducers typically include a pair of spaced permanent magnets forming a magnetic gap, a coil having a tunnel therethrough, and a reed armature.
		The use of fluid in an electroacoustic transducer may eliminate the need for components in the transducers, such as reed snubbers, dedicated to providing shock resistance.
		Although the shock resistant electroacoustic transducer is described as an electroacoustic receiver, the shock protection of the present invention may be applied to dynamic microphones as well.
	www.wipo.int /cgi-pct/guest/getbykey5?KEY=99/03305.990121&ELEMENT_SET=DECL (2165 words)

	Electroacoustic Music for the Flute: chapter 1 (Site not responding. Last check: 2007-10-21)
		The term electroacoustic, which I use throughout this work, is often misunderstood, and must be defined in order to create an appropriate context for the forthcoming discussion.
		Electroacoustics is a field of study dealing with the transformation of energy between electrical forms and acoustical forms.
		Teaching and performing electroacoustic music has not filtered its way into conventional practice as of yet, being reserved for those who are involved in advanced degrees at various institutions or those involved in non-academic experimental music.
	www.subliminal.org /flute/dissertation/ch01.html (3628 words)

	Greenwood Publishing Group : Electroacoustic Music (Site not responding. Last check: 2007-10-21)
		Electroacoustic music, a flourishing medium for over half a century, remains today, in a wide array of technological forms, one of the major areas of creative activity in music.
		In this landmark collection, a group of distinguished composers and theorists who have actively worked in the field present detailed analyses of important electroacoustic works while also demonstrating some recent approaches to the analysis of the music of this medium.
		The book is aimed at an audience of both professionals and students, with some essays accessible by undergraduates and others requiring a highly technical background.
	www.greenwood.com /books/BookDetail_pf.asp?pf=0&dept_id=1&sku=GM1420 (388 words)

	Electroacoustic Definitions
		Yet, all electroacoustic music is unified by basic principles which are adhered to more or less rigidly depending on the particular school of thought.
		It implies a music that is made from either synthesizer or tape-based techniques (such as musique concrete) which is intended for live performance over an elaborate loudspeaker array in a concert hall.
		This is considered by some to be a bit oxymoronic, since one of the great accomplishments of electroacoustic music has been the liberation of musical art from the stage, church and concert hall into private listening space.
	cara.gsu.edu /courses/mi3150/unit1.htm (939 words)

	Electroacoustics Reading (Site not responding. Last check: 2007-10-21)
		Electroacoustics frequently explores the region "below" the level of the (traditional) vocabulary units of the beat and note.
		Electroacoustics: is a very general term meaning the use of electricity for the creation, processing, manipulation, storage, presentation, distribution, perception, analysis, understanding or cognition of sound.
		This is as true of electroacoustics as it was of Jazz Studies, Film Studies, Women's Studies, Multi-media or Studies in Sexuality.
	music.concordia.ca /FFAR_Reading_Ea.html (9217 words)

	University of York, Department of Music Electroacoustic Music Studio
		The University of York Electroacoustic Music Studio was one of the first studios in the UK to promote creative work in Electroacoustic Music.
		Create your own electroacoustic music using the studio's facilities - you can write pieces for tape or create music for live electronics and studio technology.
		The course will introduce you to: Electroacoustic techniques Aesthetics and Repertoire by means of tutorials and small group seminars.
	music.york.ac.uk /facilities/studios (796 words)

	Zeta Potential — The Importance of Zeta Potential, The Electroacoustic Method and Case Studies Invol
		Developed during the last 15 years, the instrument employs electroacoustic principles that provide accurate measurements while preventing the zeta potential probe from being susceptible to environmental noise or vibrations.
		The electroacoustic instrument measures the electrokinetic properties of a particle by an electroacoustic method.
		A high frequency electric field is applied to the dispersion, and the particles move electrophoretically in the applied field.
	www.azonano.com /details.asp?ArticleID=1125 (1068 words)

	Ideas for a Musicology of Electroacoustic Music (Site not responding. Last check: 2007-10-21)
		Concerned with the impact of electroacoustic music upon the listening, with aural culture, with our relation to the soundscape and with the huge acceptance of techno as opposed to the marginal acceptance of other electroacoustic genres (including experimental pop), it could nevertheless connect a somewhat ring-fenced electroacoustic community [5] to other communities in general.
		A systematic musicology of electroacoustic music cannot embrace the ‘note’ as the unit of musical discourse: this theme has been extensively developed by Schaeffer (1966) and echoes in the dilemmas of musical analysis vis-à-vis atonal music and of ethnomusicology vis-à-vis transcription and description of the musics of aural tradition.
		The historical musicology of electroacoustic music has elected the elektronische/concrète dichotomy as founding myth and Leitmotif [9] to reduce it to a dichotomy of equipment (synthesizers and tape recorders), material (electronic and recorded sounds), method (total serialism and collage) or temperament (rationality and intuitiveness).
	www.humanas.ufpr.br /rem/remv6/palombini/palombini.html (2278 words)

	American Composers Forum
		The day of residency included two presentations and an evening recital of her chamber music and electroacoustic compositions for dance.
		In July 2004 she was guest speaker at the North Unitarian Universalist Congregation, Lewis Center, Ohio, in a service which also included performance of her acoustic and electroacoustic music.
		In my career as a composer, especially influenced by my work in the electroacoustic realm of soundscape composition, I have become aware that the act of listening has always been a core part of my life.
	www.composersforum.org /member_profile.cfm?oid=3557 (508 words)

	The international Documentation of Electroacoustic Music, project overview
		It may be true that (a small) part of the works appearing in our documentation do not meet the "serious music" criteria; the selection of works is left to the studios themselves and is neither verified nor altered by the editors.
		Only in the area of computer music where 'note' rather than 'sound' generation may be employed, is this not necessarily the case and such cases would be noted as "score" in the entry for "type", (see for example certain computer-generated scores by Xenakis).
		The "International Documentation of Electroacoustic Music" is directed foremost to music researchers concerned with the "serious music" category of contemporary music, as well as to composers in this musical genre, and to co-workers in numerous studios world-wide.
	www.kgw.tu-berlin.de /KW/Studio/EMDoku/Vorwort-E.html (1243 words)

	About Fylkingen (Site not responding. Last check: 2007-10-21)
		The very first concerts of electroacoustic music in Sweden were arranged by Fylkingen in the early 1950's, and further radicalization occurred during the 1960's with the happenings, musical theatres and text-sound compositions prominent on the society's programme.
		Fylkingen was instrumental in the foundation of EMS (The Swedish National Electronic Music Foundation), and the two organizations continue to work closely today; for the past eight years, the two organizations have been operating in the specially adapted premises of the onetime Munich Brewery (Münchenbryggeriet) in Stockholm.
		On the occasion of the society's 60th anniversary, in 1993, a book reviewing Fylkingen's history and containing an exhaustive list of all the productions put on since 1933; and a new one is on the way for the 70th anniversary.
	www.fylkingen.se /fylkeng.html (342 words)

	Electroacoustic Music Studios - University of Wales Bangor (Site not responding. Last check: 2007-10-21)
		Electroacoustic music is a particular specialism at Bangor, and since opening in 1994 our Electroacoustic Music Studios have established an
		Our work focuses especially on acousmatic music (music intended for performance on multiple loudspeakers), though music involving various combinations of live instruments, fixed electroacoustic sounds and live processing is also represented.
		Electroacoustic Wales is our performance and dissemination arm, organising concerts, public demonstrations and workshops, and promoting the music composed in the Studios.
	www.bangor.ac.uk /music/studio (156 words)

	International Music Coucil
		The biennial IREM was initiated in 1984 by the International Confederation for Electroacoustic Music (ICEM) and the International Music Council, who are also responsible for its organisation.
		The Rostrum's purpose is to make known internationally important works of electroacoustic music by fostering the exchange of works between broadcasting organisations.
		The IREM is held every two years in a different country and is usually hosted by its national broadcasting authority working in collaboration with a local organisation in the field of electroacoustic music.
	www.unesco.org /imc/site.php?typ=4&subsite=41 (280 words)

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