Obra Mixta

Géneros y Categorías [GyC]

 ]

Este término es habitualmente utilizado en el ámbito de la música electroacústica para describir aquellas obras en las que se ejecutan instrumentos (acústicos) tradicionales junto a una grabación, o a música compuesta digitalmente (en forma interactiva) en tiempo real.

 

Links

UNESCO DigiArts

- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-180 | 181-240 | 241-280 | >> 60 next

Fischer, Michel (1993). Acuité d’écoute “acousmatique” et itinéraire timbrique
Fischman, Rajmil (1994a). Sound Processing in {Los Dados Eternos}
Georgaki, Anastasia, Loufopoulos, Apostolos (2000). Spirituality in Electroacoustic Works {Apokalypsis, Tetelestai} and {Kratima} of Greek composer Michael Adamis
Gerzso, Andrew (1984). Reflexions on {Répons}
Giomi, Francesco, Meacci, Damiano, Schwoon, Kilian (2003a). Live Electronics in Luciano Berio’s Music
Godman, Rob (2004a). Recreating the Real, Realizing the Imaginary - A Composers Preoccupation with Acoustic Space
Grabócz, Marta (1997). Survival or Renewal? Structural imagination in recent electroacoustic and computer music
Griffiths, Paul (1984). Three works by Jonathan Harvey: the electronic mirror
Guérin, François (1993). Aperçu du genre électroacoustique au Québec
Haller, Hans-Peter (1987). De la transformation des sons
Harley, James (2002). The Electroacoustic Music of Iannis Xenakis
Harvey, Jonathan (1986). The Mirror of Ambiguity
Haynes, Stanley (1984). Report on the realization of York Höller’s {Arcus}
Heinrich, Marie-Noëlle (2003). Création musicale et technologies nouvelles
Holmes, Thom (2002). Electronic and Experimental Music
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Höller, York (1988). La situation présente de la musique électronique
Iddon, Martin (2006). On the entropy circuit: Brian Ferneyhough’s {Time and Motion Study II}
INA-GRM, (2000). La musique électroacoustique
Jaffe, David A. (1995). Orchestrating the Chimera: Musical Hybrids, Technology and the Development of a “Maximalist” Musical Style
Kahn, Frédéric (2002). Une introduction à l’écoute de Subjestuel de Gilles Racot
Karpen, Richard (2003). An Interview with James Dashow
Keyes, Christopher J. (2005). Recent Technology and the Hybridisation of Western and Chinese Musics
Kientzy, Daniel, Baudoux, Roald (2000). Interview Daniel Kientzy (1/2)
Kientzy, Daniel, Baudoux, Roald (2000). Interview Daniel Kientzy (2/2)
Kimura, Mari (1995). Performance Practice in Computer Music
Kimura, Mari (2003). Creative Process and Performance Practice of Interactive Computer Music: A performer’s tale
Kröpfl, Francisco (1995). Experiences and Reflexions on Electroacoustic Music
Kuivila, Ron (2004). Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor
Küpper, Leo (1996). Musical Analysis: {Inflections Vocales}, a Composition for Soprano and DAT
Lai, Antonio (1999). La fonction compositionnelle des modulateurs en anneau dans {Mantra} (Karlheinz Stockhausen)
Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s {Till}
Lalitte, Philippe (1998). {City Life}
Lalitte, Philippe (2006). Towards a semiotic model of mixed music analysis
Landy, Leigh (2006b). La Zététique: Musique mixte créée en collaboration
Lanza Alcides, (1998). Music for Voice [Personal Recollection]
Lejeune, Jacques (1991). La forme dans le paysage (2)
Lewis, George E. (2000). Too Many Notes: Computers, Complexity and Culture in {Voyager}
Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa
LINTZ MAUÉS, Igor (1989). Música Eletroacústica no Brasil. Composição utilizando o meio eletrônico (1956 - 1981) (Electroacoustic Music in Brazil: Composition using the electronic media (1956 - 1981))
Livingstone, Hugh (2000). Paradigms for the New String Instrument: Digital and materials technology
Lorieux, Grégoire (2004). Une analyse d’{Amers} de Kaija Saariaho
Lucier, Alvin (1998). Origins of a Form: Acoustical Exploration, Science and Incessancy
Mâche, François-Bernard (1972). Sur “Korwar”
Machover, Tod (1984). Computer Music with and without Instruments
Machover, Tod (1986). A Stubborn Search for Artistic Unity
Makan, Keeril (2003). An Interview with Gerard Pape
Makan, Keeril (2004). An Interview with Edmund Campion
Malec, Ivo, Giner, Bruno (1996). Entretien avec Ivo Malec
Malec, Ivo, Giner, Bruno (2003). Rencontres avec Ivo Malec
Manoury, Philippe (1984). The Arrow of Time
Manoury, Philippe (1990). La note et le son: un carnet de bord
Maratti, Adriana (1996). Music and Science: An Interview with Martino Traversa
Marcías, Gonzalo (2004). Les origines de la musique électroacoustique au Mexique
McNutt, Elizabeth (2003). Performing Electroacoustic Music: A wider view of interactivity
Menezes, Flo (1997). To Be and Not To Be: Aspects of the Interaction Between Instrumental and Electronic Compositional Methods
Menezes, Flo (2002). For a Morphology of Interaction
Murail, Tristan (1984). Spectra and pixies
Murail, Tristan (2005a). Spectra and Sprites
Murail, Tristan (2005b). Target Practice

 

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