Música Electrónica

Géneros y Categorías [GyC]

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Originalmente, música en la que el material sonoro no está pregrabado sino generado únicamente por medios electrónicos. Mientras que antes estos medios eran osciladores y generadores de ruido, en la actualidad se emplean recursos digitales. Algunas personas, especialmente en los Estados Unidos, utilizan hoy este término como sinónimo de Música Electroacústica. El equivalente alemán, Elektronische Musik, tiene connotaciones históricas más precisas, refiriéndose a las composiciones post-serialistas generadas electrónicamente que comenzaron a crearse en los primeros años de la década del 50 en los estudios de la radio de Colonia. En francés, se le dice actualmente música electrónica también a los géneros populares del tipo electrónico, tales como el tecno.

 

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

Schaeffer, Pierre (1977, 2002). De la musique concrète à la musique même
Schaeffer, Pierre, Peignot, Jérome (1956). Bruits équivoques
SCHATT, Peter W. (2005). L’arte della transizione : funzioni dell’elettronica in {Mixtur} di Karlheinz Stockhausen (The art of transition: electronic functions in {Mixtur} by Karlheinz Stockhausen)
Schrader, Barry (1982). Introduction to Electro-acoustic Music
Sciarrino, Salvatore, Somigli, Paolo (2003). Nature technologique
Semegen, Daria (1989). Electronic Music: Art Beyond Technology
Shibata, Minao (1971). Music and Technology in Japan
Shinohara, Makoto (1979). New Music in Japan
Simona, Sargenti (1995). Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di {Mikrophonie I} e di Solo di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of {Mikrophonie I} and Solo by K.Stockhausen)
Spiegel, Laurie (1996). That was Then - This is Now
Stevance, Sophie M. (2005). De l’univers acoustique aux sphères électroniques : l’itinéraire du timbre dans le {Clair-Obscur} parasité de Roger Tessier
Stockhausen, Karlheinz (1962). The Concept of Unity in Electronic Music
Stockhausen, Karlheinz (1988). Musique électronique et musique instrumentale
Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice
Stockhausen, Karlheinz, Langlois, Philippe (2003). Aux origines du premier studio de musique électronique européen à Cologne
Subotnick, Mort, Machover, Tod (1995). Interview with Mort Subotnick
Taylor, Timothy D. (2001). Strange Sounds: Music, Technology and Culture
Teruggi, Daniel (2001c). Electro-acoustic Music in Italy
Thies, Wolfgang (1985). Notationsmöglichkeiten für elektronische Musik (Possibilities of Electronic Music Notation)
Thies, Wolfgang (1987). Vorschläge für eine physikalisch-akustische Notation elektronischer Musik
Toop, Richard (1981). Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952-1967
Trayle, Mark (1999). Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century
UNGEHEUER, Elena (1992). Wie die elektronische Musik »erfunden« wurde...Quellenstudien zu Werner Meyer-Epplers Entwurf zwischen 1949 (How Electronic Music was “Discovered”…Source study of Werner Meyer-Eppler’s Plan between 1949 and 1953)
Ungeheuer, Elena (1994). From the Elements to the Continuum: Timbre Composition in Early Electronic Music
Ungeheuer, Elena (1999). Musikaliche Experimente in der musikwissenschaftlichen Forschung: Werner Meyer-Eppler und die elektronische Musik (Musical experiments in musicological research: Werner Meyer-Eppler and electronic music)
Ungeheuer, Elena, Decroupet, Pascal (1998). Through the Sensory Looking-glass: the Aesthetic and Serial Foundations of {Gesang des Jünglinge}
Vaggione, Horacio (1982). Le courant et le maintenu
Vande Gorne, Annette (1995). Une histoire de la musique électroacoustique
Varèse, Edgard (1983). 1953-1965 : Invention du futur
Vidolin, Alvise (1980). Interazione fra i livelli di rappresentazione dell’informazione musicale nella composizione mediante elaboratore (Interaction among the representation levels of musical data in computer music composition)
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Vidolin, Alvise (ed.) (1980). Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)
Viola, Bill (2004). David Tudor: The Delicate Art of Falling
Weinland, John David (1969). Electronic Music Primer
Wick, Robert L. (1997). Electronic and Computer Music. An Annotated Bibliography
Witherden, Barry (1996). The Primer: Karlheinz Stockhausen
Wörner, Karl (1973). Stockhausen: Life and Work
Young, Rob (2000a). Roll Tape: Pioneer Spirits in {Musique Concrète}
Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music
Zagaykevych, Alla, Zavada, Ivan (2007). Development of electronic music in Ukraine: emergence of a research methodology
Zattra, Laura, De Poli, Giovanni, Vidolin, Alvise (2001). Yesterday Sounds Tomorrow. Preservation at CSC
Zinovieff, Peter (1982). Compositional Attitudes to Electronic Music

 

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