Keyword(s):Live Electronics , Discourse within Electroacoustic Music , Mixed Work
This article examines six works from the repertory for harpsichord and electronics. A wide variety of possibilities are illustrated to suggest ways of composing for such mixed resource works. The author defines ‘local’ considerations which seek to extend but not to break the live instrumental presence, whilst ‘field’ transformations place these in a landscape or environment. The various possibilities of local and field combinations between the two poles of live harpsichord and electronics are examined and contrasted between the works. The responses of composers to the sound morphology of the harpsichord in the various works are also contrasted.
All references of the same author:
(English)Emmerson, Simon (1976). Electronic Music in Education
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Emmerson, Simon (1986). The Relation of Language to Materials
Emmerson, Simon (1989). Composing Strategies and Pedagogy
Emmerson, Simon (1991). Interview with Jonathan Harvey
Emmerson, Simon (1994a). ‘Local/Field': Towards a Typology of Live Electroacoustic Music
Emmerson, Simon (1994b). 'Live' versus 'Real-time'
Emmerson, Simon (1995a). Analysis of Live Electronic Music
Emmerson, Simon (1995b). Electroacoustic Music: Aesthetic Situation and Perspectives
Emmerson, Simon (1996). Sentences for Soprano and Electronics: Towards a Poetics of Live Electronic Music
Emmerson, Simon (1998a). Acoustic/Electroacoustic: The Relationship with Instruments
Emmerson, Simon (1998b). Aural Landscape: Musical Space
Emmerson, Simon (2000a). Crossing Cultural Boundaries Through Technology?
Emmerson, Simon (2000b). ‘Losing Touch?': The Human Performer and Electronics
Emmerson, Simon (2000c). Time Regained
Emmerson, Simon (2001a). New Spaces/New Places: a Sound House for the performance of electroacoustic music and sonic art
Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Emmerson, Simon (2001c). Pentes: A Conversation with Denis Smalley
Emmerson, Simon (2006). In what form can ‘live electronic music' live on?