URL: http://journals.cambridge.org/jid_OSO

Language(s): English

Keyword(s):

Electroacoustic Instruments ,  Digital Aesthetics ,  Access (to Electroacoustic Music) ,  Performance Space(s)

Abstract:

A personal statement concerning access and electroacoustic music which the author considers to be ubiquitous. His conclusions: “We need to compose wonderful music with astonishing sounds, formulate new understandings, create new instruments, and find appealing ways to present our music, perhaps as sound-art installations in non-proscenium galleries, or in performances, or via the Internet”.

All references of the same author:

(English)

Chadabe, Joel (1972). Le principe du voltage-control et ses implications pour le compositeur
Chadabe, Joel (1975). The Voltage-Controlled Synthesizer
Chadabe, Joel (1981). Paths to a Point in a Musical Landscape
Chadabe, Joel (1983). Interactive Composing: An Overview
Chadabe, Joel (1984). Interactive Composing: An Overview
Chadabe, Joel (1996). The History of Electronic Music as a Reflection of Structural Paradigms
Chadabe, Joel (1997a). The Electronic Music Foundation
Chadabe, Joel (1997b). Electric Sound: The Past and Promise of Electronic Music
Chadabe, Joel (1999a). The Performer is Us
Chadabe, Joel (1999b). A Brief Overview of Otto Laske's Work
Chadabe, Joel (2000a). Devices I have Known and Loved
Chadabe, Joel (2000b). Remarks on Computer Music Culture
Chadabe, Joel (2001). Preserving Performances of Electronic Music
Chadabe, Joel (2002). The Limitations of Mapping as a Structural Descriptive in Electronic Instruments
Chadabe, Joel (2003). Where We're Going
Chadabe, Joel (2004a). Electronic Music and Life

(Français)

Chadabe, Joel (1972). Le principe du voltage-control et ses implications pour le compositeur