Musica elettronica

Genres and Categories [G&C]  ]

Originariamente la musica elettronica era composta con materiali sonori non registrati e prodotti con generatori come gli oscillatori e i generatori analogici (ora digitali) di rumore. Tuttavia, nel caso particolare degli Stati Uniti, il termine è sinonimo di musica elettroacustica. L’equivalente tedesco Elektronische Musik storicamente è più circoscritto perché si riferisce alla tradizione della musica post-seriale elettronica iniziata all’inizio degli anni Cinauqnta negli studi della radio di Colonia. In Francia, il termine è usato attualmente per indicare la musica popolare elettronica.

 

Links

UNESCO DigiArts

- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 1 - Quelques réflexions sur les relations entre le son et la musique ( French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 3 - Du sonore à l’artistique: le timbre musical reconsidéré ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-180 | 181-240 | 241-300 | 301-327 | >> 60 next

Appleton, Jon (1990). Composer pour des nouveaux instruments
Appleton, Jon (1996). Musical Storytelling
Appleton, Jon H., Perera, Ronald C. (1975). The Development and Practice of Electronic Music
Barrière, Françoise (2003). Où en est la musique électroacoustique aujourd’hui ?
Battier, Marc (1992). Sculpter la transparence. L’écriture, le geste, l’environnement
Battier, Marc (1995a). Une nouvelle géométrie du son. Le paradoxe de la lutherie électronique
Battier, Marc (1999b). Les polarités de la lutherie électronique
Battier, Marc (2002b). L’opéra et les technologies du son artificiel
Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Battier, Marc (2003d). Laboratoires
Bayle, François, Gayou, Evelyne (2003a). Hasard et nécessité
Beaucage, Réjean (2004). Le courant électrique dans Montréal/Nouvelles Musiques
Behrman, David, Kuivila, Ron (1998). Composing with Shifting Sand: A Conversation between Ron Kuivila and David Behrman on Electronic Music and the Ephemerality of Technology
Bennett, Gerald (1990). Repères électro-acoustiques
Berio, Luciano, Chion, Michel (1975). Luciano Berio et l’avenir de la musique électroacoustique
Beyls, Peter (1978). History and development of IPEM Studio
Bischoff, John (1991). Software as Sculpture: Creating Music from the Ground Up
Boehmer, Konrad (1990). Aspects socio-esthétiques de la musique électronique
Boehmer, Konrad (2002). Koenig - Sound Composition - {Essay}
Boehmer, Konrad, Zanési Christian, (1995). Histoire du studio de la WDR de Cologne
Borio, Gianmario (1993). New Technology, New Techniques: The Aesthetics of Electronic Music in the 1950’s
Bossis, Bruno (2002b). Karlheinz Stockhausen
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Boucourechliev, André (1960). La musique électronique
Boulanger, Richard (1984). Interview with Roger Reynolds, Joji Yuasa and Charles Wuorinen
Boulez, Pierre (1958). Concrète (Musique)
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo
Castanet, Pierre-Albert (2001a). Voyages en Nouvelles Atlantide
Chadabe, Joel (1996). The History of Electronic Music as a Reflection of Structural Paradigms
Chadabe, Joel (2001). Preserving Performances of Electronic Music
Chiarucci, Henri, Reibel, Guy (1968). Techniques et manipulations en musique électroacoustique
Chion, Michel (1972). Vingt années de musique électro-acoustique
Chion, Michel (1982). La musique électroacoustique
Ciamaga, Gustav (1975). The Tape Studio
Clarke, Michael (1999b). Revisiting {Kontakte}: Issues of History, Performance and Intuition
Commission on Electronic Music, (1977). Electronic Music in Sweden
CREMASCHI, Andrea (2005). Parola-suono-silenzio: {Guai ai gelidi mostri} di Luigi Nono (Word-sound-silence: {Guai ai gelidi mostri} by Luigi Nono)
Cremaschi, Andrea , Giomi, Francesco (eds.) (2005a). Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works)
Cross, Lowell (1968). Electronic Music, 1948-1953
Cross, Lowell (1999). {Reunion}: John Cage, Marcel Duchamp, Electronic Music and Chess
Cross, Lowell M. (1967). A bibliography of electronic music
D’Escriván, Julio (2006). To sing the body electric: Instruments and effort in the performance of electronic music
Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen’s {Kontakte} für elektronische Klänge, Klavier, und Schlagzeug
Dack, John (1999a). Karlheinz Stockhausen’s {Kontakte} and Narrativity
Dack, John (2002a). Histories and Ideologies of Synthesis
Dahlhaus, Carl (1974). Ästhetische Probleme der elektronischen Musik (Aesthetic problems related to electronic music)
Dalmonte, Rossana, Baroni, Mario (eds.) (1992). Secondo convegno europeo di analisi musicale. Università degli studi di Trento (Second European conference on music analysis. University of Trento)
Dashow, James (2002). Looking into Sequence Symbols
Dashow, James, Roads, Curtis (1985c). Interview with James Dashow
Davidovsky, Mario, Ortiz, Pablo (1990). Entretien avec Mario Davidovsky
Davies, Hugh (1964). A Discography of Electronic Music and {Musique Concrète}
Davies, Hugh (1966). A Discography of Electronic Music and {Musique Concrète}: Supplement
Davies, Hugh (1986). Storia ed evoluzione degli strumenti musicali elettronici (Historical evolution of electronic music instruments)
Davies, Hugh (1992). New Musical Instruments in the Computer Age: Amplified Performance Systems and Related Examples of Low-level Technology
Davies, Hugh (2003). Daphne Oram: Tribute to a Pioneer
De Benedictis, Angela Ida (2004a). Scrittura e supporti nel Novecento: alcune riflessioni e un esempio ({Ausstrahlung} di Bruno Maderna) (Writing and support in 20th century music: some remarks and an example ({Ausstrahlung} by Bruno Maderna))
Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}

 

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