Présentation et pratiques de concert [PPC]


The collective action of two or more people towards a mutually shared aim or outcome. This may extend beyond electroacoustic music to collaboration across art forms (e.g. musician and dancer or video artist) or disciplines (e.g. musician and computer programmer or hardware designer). Although in evidence in virtually all forms of traditional and contemporary music-making, the term has not been used as widely as it is in, for example, theatre, performance art, dance or the visual arts.


See also



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Alphabetical order - Chronological order

Allen, J. Anthony (2004). Playing with Fire: An unexpected collaboration
Belet, Brian (2003). Live Performance Interaction for Humans and Machines in the Early Twenty-first Century: One composer’s aesthetics for composition and performance practice
Cipriani, Alessandro, Ciardi, Fabio Cifariello, Ceccarelli, Luigi, Cardi, Mauro (2004). Collective Composition: The Case of Edison Studio
Hahn, David (2002). Creating the Soundscape for {Zagreb Everywhere}
Hahn, Tomie, Bahn, Curtis (2002). {Pikapika} - The collaborative composition of an interactive sonic character
Harris, Yolande (2004). The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts
Harris, Yolande, Bongers, Bert (2002). Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces
Landy, Leigh (1988). How Often Have you Seen Your Compositions Performed? A Plea for More Audio-visual Collaborations in Experimental Music
Landy, Leigh (1994a). Experimental Music Notebooks
Landy, Leigh, Jamieson, Evelyn, Ng, Kia (2003). {In Transit} or Realising One’s Aesthetic when the Technology Finally Catches Up
Lanzalone, Silvia (2000). Hidden Grids: Paths of expressive gesture between instruments, music and dance
McNutt, Elizabeth (2003). Performing Electroacoustic Music: A wider view of interactivity
Moorefield, Virgil, Weeter, Jeffrey (2004). The Lucid Dream Ensemble: A laboratory of discovery in the age of convergence
Myatt, Tony (2002). Strategies for Interaction in {Construction 3}
Packer, Randall (2004). {The Pavilion: Into the 21st Century}: A space for reflection
Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field’ spaces
Rudi, Jřran (2003). {Norge - et Lydrike, Norway Remixed}: A sound installation
Simoni, Mary (2003). Project Lovelace: Unprecedented Opportunities for Music Education
Watts, Christopher (2004). Mixing Things Up: Collaboration, converging disciplines, and the music curriculum
Wilson, Julie A., Bromwich, Mark A. (2000). {Lifting Bodies}: Interactive dance - finding new methodologies in the motifs prompted by new technology - a critique and progress report with particular reference to the Bodycoder System