Language(s): English

Keyword(s):

Computer Music ,  Electroacoustic Music ,  Live Electronics ,  Mixed Work ,  Open Form

Abstract:

John Dack analyses the place of the computer in terms of the realisation of open form in electroacoustic works: this is divided into - the history of technology in music and open form, the relationship between electroacoustic music and computer music, and open form in computer music performance. He presents examples from works by Stockhausen (Kontakte), and Pousseur (Scambi).

All references of the same author:

(English)

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 (2002a). Histories and Ideologies of Synthesis
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