Dack, John


Histories and Ideologies of Synthesis

Online Article.

URL: http://www.sonic.mdx.ac.uk/research/dackhis.html

Language(s): English


Musique Concrète Schaefferian Theory Synthesis and Resynthesis Techniques Socio-Cultural Aspects of Electroacoustic Music Electroacoustic Music Electronic Music PROGREMU


In this article, the author investigates the roles of synthesis in the development of musical thought from the late nineteen-forties to the early nineteen-seventies, in a way that avoids a fetishisation of synthesis/synthesiser technology by focussing on synthesis as a concept. He concentrates on developments originating in what is commonly regarded as the electroacoustic music of the European avant-garde, in particular, two approaches that he characterises as French (Pierre Schaeffer - musique concrète) and German (Karlheinz Stockhausen - elektronische Musik) synthesis. He addresses several questions: what was understood by the concept "synthesis"? Why did it develop in different ways? And what are its ramifications for contemporary musical languages?

All references of the same author:


Dack, John (1993). A la Recherche de l'Instrument Perdu
Dack, John (1994). Pierre Schaeffer and the Significance of Radiophonic Art
Dack, John (1997). Pedagogy and the Studio
Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen's Kontakte für elektronische Klänge, Klavier, und Schlagzeug
Dack, John (1998b). Systematising the Unsystematic
Dack, John (1999a). Karlheinz Stockhausen's Kontakte and Narrativity
Dack, John (1999b). The Creative Power of the Machine
Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry
Dack, John (2001). Diffusion as Performance
Dack, John (2002b). Abstract and Concrete
Dack, John (2003a). Can the Analogue Past Inform the Digital Present?
Dack, John (2003b). Sound, Installations and Music
Dack, John (2003c). Ear-training using the computer and PROGREMU
Dack, John (2004). 'Open' Forms and the Computer