Keyword(s):Real-time , Analogue Electroacoustic Music , Computer Music , Electroacoustic Music , Electronic Music
In this brief paper, the author considers contemporary computer music’s relationship with its history, the significance of interaction and intuition in the studio, and the role of performance in electroacoustic music. These considerations are based on the results of an experiment in which the author used digital technology to recreate some of the analogue techniques used by Karlheinz Stockhausen to compose Kontakte.
All references of the same author:
(English)Clarke, Michael (1996). Composing at the Intersection of Time and Frequency
Clarke, Michael (1998). Extending Contacts: the Concept of Unity in Computer Music
Clarke, Michael (1999a). Composing with Multi-channel Spatialisation as an Aspect of Synthesis