Electrónica en Vivo (Música Electrónica en Vivo)

Prácticas de Interpretación y Presentación [PIP]

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Un término que proviene de la era analógica de la música electroacústica y que describe la interpretación empleando instrumentos electrónicos que pueden ser ejecutados en tiempo real. En el mismo sentido, el término más utilizado actualmente es: música con instrumentos interactivos.

 

See also

Interactividad

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-180 | 181-240 | 241-267 | >> 60 next

DAVIES, Hugh (1996b). Elektroakustische Live-Performance. Zur Geschichte und Gegenwart des STEIM (Live Electroacoustic Performance: On the history and current situation at STEIM)
Davies, Hugh (2001a). Gentle Fire: An Early Approach to Live Electronic Music
Davis, Randal (2003). ‘... and what they do as they’re going ...’: Sounding space in the work of Alvin Lucier
Dedman, Malcolm (1984). Electronic Instruments
Depalle, Philippe, Tassart, Stéphan, Wanderley, Marcello M. (1997). Instruments virtuels
Dobrain, Christopher, Koppelman, Daniel (2006). The ’E’ in NIME: Musical Expression with New Computer Interfaces
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Dreyer, Sylvain (1999). Marseille à l’heure électronique
Driscoll, John, Rogalsky, Matt (2004). David Tudor’s {Rainforest}: An Evolving Exploration of Resonance
Dury, Rémi, Faber, Francis (2001). Musique électroacoustique, musique assistée par ordinateur et jeu instrumental: vers de nouveaux instruments pédagogiques
Emmerson, Simon (1991). Interview with Jonathan Harvey
Emmerson, Simon (1994a). ‘Local/Field’: Towards a Typology of Live Electroacoustic Music
Emmerson, Simon (1994b). ’Live’ versus ’Real-time’
Emmerson, Simon (1995a). Analysis of Live Electronic Music
Emmerson, Simon (1995b). Electroacoustic Music: Aesthetic Situation and Perspectives
Emmerson, Simon (1996). {Sentences} for Soprano and Electronics: Towards a Poetics of Live Electronic Music
Emmerson, Simon (2000b). ‘Losing Touch?’: The Human Performer and Electronics
Emmerson, Simon (2001d). The Electroacoustic Harpsichord
Emmerson, Simon (2006). In what form can ‘live electronic music’ live on?
Eric, Zoran (1995). {Signs}, by Srdjan Hofman, a Directory for the Use of Live Electronics in the Process of Creating Real Musical Time
Ernst, David (1977). The Evolution of Electronic Music
Fatus, Claude (1993). la station d’informatique musicale
Favilla, Stuart, Cannon, Joanne (2006). Fetish: Bent Leather’s palpable, visceral instruments and Grainger
Fikentscher, Kai (2003). “There’s not a problem I can’t fix, ‘cause I can do it in the mix”: On the Performative Technology of 12-inch Vinyl
Fischman, Rajmil (1994a). Sound Processing in {Los Dados Eternos}
Flety, Emmanuel, Serra, Marie-Hélène (1998). Utilisation récentes de capteurs gestuels en création musicale à l’IRCAM
François, Jean-Charles (1990). Fixed Timbre, Dynamic Timbre
Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music
Gerzso, Andrew (1984). Reflexions on {Répons}
Giomi, Francesco, Meacci, Damiano, Schwoon, Kilian (2003a). Live Electronics in Luciano Berio’s Music
GIOMI, Francesco, SCHWOON, Kilian (2005). Il continuo mutevole: {Altra voce} di Luciano Berio (The mutable discourse: {Altra voce} by Luciano Berio)
Glanville, Ranulph (2001). Between Now and Then: The Auto-Interview of a Lapsed Musician
Gluck, Robert J. (2005a). eSaz: A non-Western instrument in the context of a live electronic performance system
Godman, Rob (2002). Ambient Sound and Resonating Spaces
Godman, Rob (2004a). Recreating the Real, Realizing the Imaginary - A Composers Preoccupation with Acoustic Space
Godman, Rob (2004b). The Enigma of Vitruvian Resonating Vases and the Relevancs of the Concept for Today
Gray, D’ Arcy Philip (2004). David Tudor in the Late 1980s: Understanding a Secret Voice
Griffiths, Paul (1979). A Guide to Electronic Music
Griffiths, Paul (1979). A Guide to Electronic Music
Grossmann, Rolf (2008). The tip of the iceberg: laptop music and the information-technological transformation of music
Guérin, François (1993). Aperçu du genre électroacoustique au Québec
Haller, Hans-Peter (1987). De la transformation des sons
Haller, Hans-Peter (1995). Das Experimentalstudio der Heinrich-Strobel-Stiftung des Südwestfunks Freiburg 1971-1989 (The “Experimentalstudio” of the Heinrich Strobel Foundation of South West Broadcasting (SWF), Freiburg 1971-1989)
Harris, Yolande (2004). The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts
Harvey, Jonathan (1999). The Metaphysics of Live Electronics
Heinrich, Marie-Noëlle (2003). Création musicale et technologies nouvelles
Holmes, Thom (2002). Electronic and Experimental Music
Hunt, Andy, Kirk, Ross (2003). MidiGrid: Past, Present and Future
Iazzeta, Fernando (1996). Formalization of Computer Music Interaction through a Semiotic Approach
Iddon, Martin (2006). On the entropy circuit: Brian Ferneyhough’s {Time and Motion Study II}
Impett, Jonathan (1996). Projection and Interactivity of Musical Structures in {Mirror-Rite}
INA-GRM, (1977). La musique du futur a-t-elle un avenir ?
INA-GRM, (2000). La musique électroacoustique
Jaeger, Timothy (2003). The (Anti-) Laptop Aesthetic
Jaffe, David A. (1995). Orchestrating the Chimera: Musical Hybrids, Technology and the Development of a “Maximalist” Musical Style
Jaffe, David A., Schloss, W. Andrew (1994). The Computer Extended Ensemble
Jameux, Dominique (1984). Boulez and the “machine”. Some thoughts on the composer’s use of various electro-acoustic media
Jones, Stephen (2004). Philippa Cullen: Dancing the Music
Jordà, Sergi (2001b). Improvising with Computer: A Personal Survey (1989-2001)
Jordà, Sergi (2002b). Improvising With Computers: A Personal Survey (1989-2001)

 

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