Pub Date : 2022-12-01DOI: 10.1017/S1355771822000450
Ryo Ikeshiro, Damien Charrieras, P. Lindborg
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.
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Pub Date : 2022-12-01DOI: 10.1017/S1355771822000516
Zhou Qian
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.
{"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}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000449
Marc Battier
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.
在这篇文章中，我讨论了中国电声音乐的情况，重点是当代音乐，亚洲乐器和混合音乐。我特别关注混合音乐，但并不局限于此，我也关注当代西方风格的器乐。几位作者讨论了当代创作与亚洲文化某些风格因素之间的关系问题。他们质疑在当代创作中可以观察到的亚洲特有的可识别特征，并试图确定是否可以建立关系体系。有些，比如周文忠(周文中 周文忠），强调融合，从而与人类学和文化研究的著作建立了联系。周在1971年的文章《亚洲概念与二十世纪西方作曲家》中引用了许多例子，这些例子往往强调许多作曲家（主要是西方作曲家）在不同风格梯度上的融合和融合。最近，音乐学家Yayoi Uno Everett描述了亚洲和西方作曲家在这些关系中的不同类别。本文试图从中国作曲家的电声音乐创作中观察到哪些文化梯度。例如，混合音乐的具体情况在重新建立文化间关系的背景下，创造了乐器和声音材料之间前所未有的接触局面。
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Pub Date : 2022-12-01DOI: 10.1017/S1355771822000462
A. Liu
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.
{"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}
Pub Date : 2022-09-02DOI: 10.1017/S1355771822000322
I. Simurra, Marcello Messina, Luzilei Aliel, Damián Keller
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.
{"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}
Pub Date : 2022-08-01DOI: 10.1017/S135577182100056X
M. Noone
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.
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Pub Date : 2022-08-01DOI: 10.1017/S1355771823000110
James Andean
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
这是关于“即兴创作中的声音和电子”主题的第二期，第一期《有组织的声音》26(1)于2021年4月出版。第一卷中的文章围绕着一些有趣的主题，包括电声即兴创作中的网络交流，原声乐器的电声延伸，“表演者加”范式，乐器作为合作表演者，以及电子“他者”。有趣的是，在第二期的文章之间运行了一组不同的线程，使其具有与前一期相当不同的风味。本书的主要主题是对即兴创作的分析，这在皮埃尔·库普里的文章中得到了明确的论述，但在劳里Hyvärinen、亚历克斯·怀特、德雷克·安德森和詹姆斯·安第斯的文章中也发挥了重要作用。Luigi Marino和Lauri Hyvärinen的文章研究和比较了不同的即兴创作社区，这些社区在地理和美学上都是相互迁移和/或联系在一起的。虽然实践者的观点包含在第一期中，最明显的是在Alistair MacDonald关于“现场电声即兴创作中的共同隔阂”的文章中，但在第二期中，约翰·理查兹和蒂姆·肖、马修·詹姆斯·诺恩、路易吉·马里诺和詹姆斯·安第斯的文章中再次提出了这个问题。所有这些，我认为，给了这两个问题相当不同的“味道”:第一个问题涵盖了即兴创作的各种本质上不同的背景，在技术方法和哲学方面，第二个问题更多的是音乐学上的，在某种程度上，更明确地以人为中心。第一篇文章，我自己的贡献“自由即兴中的团体表演范式”，讨论了小型合奏自由即兴中表演者视角的差异，并将其分为四个关键范式，然后分析了从更广泛的声音和电声即兴领域中抽取的关键例子。接下来是Pierre Couprie的“电声音乐即兴的分析方法”，在更广泛的电声分析背景下，提出了使用可视化工具分析自由即兴的技术。Couprie构建了一个基于三个支柱的框架:声学分析、音乐分析和图形表现设计。这一框架通过将其应用于Les phonogsamnistes演奏的电声即兴演奏的摘录来证明，Couprie本人就是其中的一员。在《新技术，旧行为:千禧年之际欧洲的电子媒体和电子音乐即兴者》中，Luigi Marino比较和对比了欧洲场景的两个关键地理中心:柏林的Echtzeitmusik和伦敦的New London Silence。马里诺在这些场景中包括了对关键即兴演员的详细采访材料，以阐明他们对电子产品的处理方法，以及这些方法与他们更广泛的表演风格和美学之间可能存在的关系。约翰·理查兹和蒂姆·肖在他们的文章《通过表演装置进行即兴创作》中提出了他们将“表演装置”作为一种艺术形式的想法，以及与即兴创作(以及其他事物)的关系。这篇文章通过作者的一系列概念性和情境性的表演来展示这些想法，其中一些是与日本行为艺术家Tetsuya Umeda合作的。(这里有一些有趣的链接，与上一期关于这个主题的几篇文章有关，包括乔纳森·希金斯的文章——表现“失败”的想法;保罗·斯台普顿和汤姆·戴维斯——包括与生态心理学的共同联系;AdamPultzMelbye的“代理和环境”;可能还有吉米·伊迪关于“出勤率”的想法。)与Luigi Marino的文章一样，Lauri Hyvärinen的“Jin Sangtae, Hong Chulki和Tetuzi Akiyama的电声即兴音乐中的手势和纹理”也研究了两个即兴场景的音乐:首尔的“Dotolim”场景和东京的onkyô场景。然而，Hyvärinen提供了一种基于分析的方法，特别关注表演者对手势和纹理的使用，以及他们使用这些材料来“连接”这两种方法。本文在此基础上提出手势和织体是理解即兴表演的关键。其次是Drake Andersen的“人的空间:Pauline Oliveros音乐中的技术、即兴创作和社会互动”。Andersen通过对“社会互动和社区建设”的关注，深入研究了Oliveros的作品，引起了人们对技术在“促进社会”中所起作用的关注
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Pub Date : 2022-08-01DOI: 10.1017/S1355771822000346
Filipa Magalhães
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.
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Pub Date : 2022-08-01DOI: 10.1017/s1355771822000395
Michael Clarke, Frédéric Dufeu, B. Truax
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.
{"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}
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