Pub Date : 2022-04-01DOI: 10.1017/S135577182200019X
Ronald Boersen
The aim of this article is to gain insight into how the perceptual act of everyday listening may influence, shape or inform the compositional process, specifically in regard to soundscape composition and its relation to the environment. I place listening within the wider context of enactive perception, and emphasise the embodied and multisensory nature of cognition in the formation of an understanding of our world. Acknowledging music as a sociocultural activity, I utilise musical narrativity to frame the discussion on affordances for a listener ’ s enactive perception. With a particular focus on soundscape composition, I discuss the affordances for a listener offered by divergent compositional processes, contextualised within the wider electroacoustic domain and its sociohistorical context. Moreover, I argue that by explicitly incorporating as part of the compositional process, soundscape composition moderates the affordances for a listener by aligning various narrative modes.
{"title":"Enactive Listening: Perceptual reflections on soundscape composition","authors":"Ronald Boersen","doi":"10.1017/S135577182200019X","DOIUrl":"https://doi.org/10.1017/S135577182200019X","url":null,"abstract":"The aim of this article is to gain insight into how the perceptual act of everyday listening may influence, shape or inform the compositional process, specifically in regard to soundscape composition and its relation to the environment. I place listening within the wider context of enactive perception, and emphasise the embodied and multisensory nature of cognition in the formation of an understanding of our world. Acknowledging music as a sociocultural activity, I utilise musical narrativity to frame the discussion on affordances for a listener ’ s enactive perception. With a particular focus on soundscape composition, I discuss the affordances for a listener offered by divergent compositional processes, contextualised within the wider electroacoustic domain and its sociohistorical context. Moreover, I argue that by explicitly incorporating as part of the compositional process, soundscape composition moderates the affordances for a listener by aligning various narrative modes.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"69 - 79"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44968452","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}
Pub Date : 2022-04-01DOI: 10.1017/S1355771822000152
R. Ancona, A. Cipriani
{"title":"Agostino Di Scipio, Circuiti del Tempo - un percorso storico-critico nella creatività musicale elettroacustica e informatica. Lucca: LIM, Libreria Musicale Italiana, 2021. ISBN: 9788855430685.","authors":"R. Ancona, A. Cipriani","doi":"10.1017/S1355771822000152","DOIUrl":"https://doi.org/10.1017/S1355771822000152","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"100 - 101"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46621175","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}
Pub Date : 2022-04-01DOI: 10.1017/s1355771822000231
King Britt, Tara S Rodgers
Composers, producers and educators King Britt and Tara Rodgers discuss music technology history and pedagogy in the context of King Britt’s Blacktronika course at the University of California San Diego, which researches and celebrates Black artists and other artists of colour who are pioneers of electronic music genres. Conducted over email in June 2021, this interview also touches on King Britt’s studio practice and evolution as an artist and educator, as well as on the social and political roots of contemporary electronic music genres.
{"title":"‘We Cross Examine with Old Sonic DNA’: King Britt and Tara Rodgers in conversation on Blacktronika, music technology and pedagogy","authors":"King Britt, Tara S Rodgers","doi":"10.1017/s1355771822000231","DOIUrl":"https://doi.org/10.1017/s1355771822000231","url":null,"abstract":"Composers, producers and educators King Britt and Tara Rodgers discuss music technology history and pedagogy in the context of King Britt’s Blacktronika course at the University of California San Diego, which researches and celebrates Black artists and other artists of colour who are pioneers of electronic music genres. Conducted over email in June 2021, this interview also touches on King Britt’s studio practice and evolution as an artist and educator, as well as on the social and political roots of contemporary electronic music genres.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"55 - 58"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45251286","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}
Pub Date : 2022-04-01DOI: 10.1017/S1355771822000139
J. Fick, M. Schedel, Brandon Vaccaro
The genesis of this issue of Organised Sound was a June 2020 article on how an electronica duo created an entire album, designing ‘beats, bass, pads and all’ with the EMS Synthi 100 unit #30 (Trew 2020) that was borrowed from the Institute for Psychoacoustics and Electronic Music (IPEM). At the same time, the United States was undergoing a racial reckoning, decades in the making, ignited by the killing of George Floyd in police custody on 25 May 2020 in Minneapolis. This killing and the subsequent protests prompted institutions to examine how they have failed diverse populations. When thinking about how to increase diversity in electroacoustic music, the guest editors concluded that we can take an electroacoustic approach to music that is not traditionally considered academic. We asked questions such as: As we strive for inclusive practices among these disciplines, how have limitations and powers of oppression affected electroacoustic and popular media? What does an approach to the study of electroacoustic music and commercial media production that is informed and invigorated by social justice look like? How can education/training in both areas strive towards diversity? Stated otherwise, are there any stigmas/limiting factors for the hip hop artist to break into electroacoustic music or vice versa? Do we need to reconfigure our definition of electroacoustic in order to recognise people with similar creative instincts, much as George Lewis, who is a leading voice in both jazz and electroacoustic music, has highlighted in the case of black experimental artistry through his history of the Association for the Advancement of Creative Musicians (Lewis, 2000, 2008)? The guest editors of this issue found that the unusual case study of the EMS Synthi, and its partnership – at the same time crossing academic and commercial, as well as ‘vernacular’ and ‘art’ music boundaries – has offered an approach that can be adapted to serve the deep mixing of other arenas. Specifically in 2016, sibling duo David and Stephen Dewaele, aka 2manydjs (also known as the prog-rock electronica band Soulwax) embarked on a remarkable collaboration with the IPEM in their hometown of Ghent, Belgium. The commercial music duo, whose music appeared on the soundtrack of Grand Theft Auto V, convinced IPEM to let them house the institute’s legendary EMS Synthi 100 for a year while the ‘research center in systematic musicology’ underwent restoration. Somehow this extremely academic institution1 worked with a band who won the Red Bull Elektropedia Awards for their reinvention of Robyn’s ‘Ever Again’. The result of this collaboration was a ‘highly collectible package’ with a vinyl record and 48-page pamphlet titled ‘EMS Synthi 100 – DEEWEE Sessions Vol.1’. IPEM is credited as a collaborator, and the pamphlet includes an interview with Ivan Schepers, the IPEM technician who has been the synthesiser’s long-term custodian. This was not just a casual borrowing of gear or a rehousing solution,
{"title":"Editorial: Commercial music and the electronic music studio – influence, borrowings and language","authors":"J. Fick, M. Schedel, Brandon Vaccaro","doi":"10.1017/S1355771822000139","DOIUrl":"https://doi.org/10.1017/S1355771822000139","url":null,"abstract":"The genesis of this issue of Organised Sound was a June 2020 article on how an electronica duo created an entire album, designing ‘beats, bass, pads and all’ with the EMS Synthi 100 unit #30 (Trew 2020) that was borrowed from the Institute for Psychoacoustics and Electronic Music (IPEM). At the same time, the United States was undergoing a racial reckoning, decades in the making, ignited by the killing of George Floyd in police custody on 25 May 2020 in Minneapolis. This killing and the subsequent protests prompted institutions to examine how they have failed diverse populations. When thinking about how to increase diversity in electroacoustic music, the guest editors concluded that we can take an electroacoustic approach to music that is not traditionally considered academic. We asked questions such as: As we strive for inclusive practices among these disciplines, how have limitations and powers of oppression affected electroacoustic and popular media? What does an approach to the study of electroacoustic music and commercial media production that is informed and invigorated by social justice look like? How can education/training in both areas strive towards diversity? Stated otherwise, are there any stigmas/limiting factors for the hip hop artist to break into electroacoustic music or vice versa? Do we need to reconfigure our definition of electroacoustic in order to recognise people with similar creative instincts, much as George Lewis, who is a leading voice in both jazz and electroacoustic music, has highlighted in the case of black experimental artistry through his history of the Association for the Advancement of Creative Musicians (Lewis, 2000, 2008)? The guest editors of this issue found that the unusual case study of the EMS Synthi, and its partnership – at the same time crossing academic and commercial, as well as ‘vernacular’ and ‘art’ music boundaries – has offered an approach that can be adapted to serve the deep mixing of other arenas. Specifically in 2016, sibling duo David and Stephen Dewaele, aka 2manydjs (also known as the prog-rock electronica band Soulwax) embarked on a remarkable collaboration with the IPEM in their hometown of Ghent, Belgium. The commercial music duo, whose music appeared on the soundtrack of Grand Theft Auto V, convinced IPEM to let them house the institute’s legendary EMS Synthi 100 for a year while the ‘research center in systematic musicology’ underwent restoration. Somehow this extremely academic institution1 worked with a band who won the Red Bull Elektropedia Awards for their reinvention of Robyn’s ‘Ever Again’. The result of this collaboration was a ‘highly collectible package’ with a vinyl record and 48-page pamphlet titled ‘EMS Synthi 100 – DEEWEE Sessions Vol.1’. IPEM is credited as a collaborator, and the pamphlet includes an interview with Ivan Schepers, the IPEM technician who has been the synthesiser’s long-term custodian. This was not just a casual borrowing of gear or a rehousing solution, ","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"1 - 6"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46707676","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}
Pub Date : 2022-04-01DOI: 10.1017/S1355771822000218
Maria Chavez, Kristina Warren
The conceptual sound artist, turntablist, and curator Maria Chavez muses about storing and accessing sounds. Building on Ursula Le Guin’s concept of the carrier bag, she describes four eras of sound recording and containment.
概念声音艺术家，唱机唱机和策展人玛丽亚·查韦斯沉思关于存储和访问声音。以厄休拉·勒奎恩(Ursula Le Guin)的手提袋概念为基础，她描述了录音和收容的四个时代。
{"title":"A Sound Artist’s Breakdown of Field Recording over History","authors":"Maria Chavez, Kristina Warren","doi":"10.1017/S1355771822000218","DOIUrl":"https://doi.org/10.1017/S1355771822000218","url":null,"abstract":"The conceptual sound artist, turntablist, and curator Maria Chavez muses about storing and accessing sounds. Building on Ursula Le Guin’s concept of the carrier bag, she describes four eras of sound recording and containment.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"41 - 43"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41488324","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}
Pub Date : 2022-04-01DOI: 10.1017/S1355771822000140
Susan E. Green-Mateu
{"title":"Simon Emerson (ed.), The Routledge Research Companion to Electronic Music: Reaching out with Technology. Abingdon: Routledge, 2018. ISBN: 9781472472915 (hardback).","authors":"Susan E. Green-Mateu","doi":"10.1017/S1355771822000140","DOIUrl":"https://doi.org/10.1017/S1355771822000140","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"94 - 96"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46027449","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}
Pub Date : 2022-04-01DOI: 10.1017/S1355771822000176
T. Erbe
For slightly more than 30 years I have been developing audio software and hardware under the moniker soundhack. Through these years I have programmed applications, plugins, externals, hardware and Eurorack modules – usually focusing on signal processing techniques and applications that are not easily available or offered by mainstream software companies. In this article, I would like to share my point of view and relate the rationale behind the development of these tools, my evolving sonic and design aesthetic, and some of the advantages, disadvantages and other differences between the the various hardware and software contexts.
{"title":"Thirty Years of Sound Hacking: From freeware to Eurorack","authors":"T. Erbe","doi":"10.1017/S1355771822000176","DOIUrl":"https://doi.org/10.1017/S1355771822000176","url":null,"abstract":"For slightly more than 30 years I have been developing audio software and hardware under the moniker soundhack. Through these years I have programmed applications, plugins, externals, hardware and Eurorack modules – usually focusing on signal processing techniques and applications that are not easily available or offered by mainstream software companies. In this article, I would like to share my point of view and relate the rationale behind the development of these tools, my evolving sonic and design aesthetic, and some of the advantages, disadvantages and other differences between the the various hardware and software contexts.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"20 - 25"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48839909","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}
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