Live Electronics

Performance Practice and Presentation [PPP]  ]

Termine che risale all’epoca analogica della musica elettroacustica e designa una performance che utilizza strumenti elettronici utilizzati in tempo reale. Attualmente, il termine viene utilizzato per indicare musiche realizzate in ambienti esecutivi interattivi.

(Nella letteratura italiana, il termine “ambiente esecutivo” è stato trodotto per la prima volta in S. Sapir, A. Vidolin, "Interazioni fra tempo e gesto - Note tecniche alla realizzazione informatica di Prometeo", in Bollettino del LIMB n. 5, Venezia, La Biennale, pp 25-33; ripubblicato in Musica Tecnologia: industria e cultura per lo sviluppo del mezzogiorno, atti del VI Colloqio di Informatica Musicale, Quaderni di Musica/Realta’ n. 14, Milano, Unicopli, 1987).

 

See also

Interattività

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

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Jordà, Sergi (2003). Sonigraphical Instruments: From FMOL to the reacTable
Jordà, Sergi (2005). Multi-user Instruments: Models, Examples and Promises
Kahn, Douglas (2004). A Musical Technography of John Bischoff
Karpen, Richard (2003). An Interview with James Dashow
Kennedy, Kathy (2000). A Few Facets of Pamela Z
Kessous, Loïc, Arfib, Daniel (2003). Bimanuality in Alternate Musical Instruments
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
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
Lai, Antonio (1999). La fonction compositionnelle des modulateurs en anneau dans {Mantra} (Karlheinz Stockhausen)
Laubier, Serge de (2000). The Meta-Instrument. How the project started
Légeret, Katia (2003). Interface danse/musique une poétique de l’énergie percussive
Lippe, Cort (1994). Real-time Granular Sampling Using the IRCAM Signal Processing Workstation
Lippe, Cort (1996). Real-Time Interactive Digital Signal Processing: A View of Computer Music
Livingstone, Hugh (2000). Paradigms for the New String Instrument: Digital and materials technology
Loubet, Emmanuelle (2000). Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere
Lucier, Alvin (1998). Origins of a Form: Acoustical Exploration, Science and Incessancy
Machover, Tod (1984). Computer Music with and without Instruments
Manoury, Philippe (1984). The Arrow of Time
Mathews, Max (1995). The Esthetic Situation and Actual View of Electroacoustic Music Performance
Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
Mikic, Vesna (1996). {The Duel} as the Answer
Mikic, Vesna (2002). {Vris.Krik.exe}: A Techno - Music Metaphor of Subject/Body
Montague, Stephen (1991). The German Scene: Mesias Maiguashca Interviewed by Stephen Montague
Moore, Adrian (1994). An Interview with Neil B. Rolnick
Mumma, Gordon (1975). Live-Electronic Music
Obst, Michaël (1995). We Need New Criteria for the Evaluation of Electroacoustic Music
Osborn, Ed (1991). Local Conditions and Perceptual Concerns
Paine, Garth (2004). Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology
Pascal, Michel (1999). Le studio instrumental : les données d’une virtuosité à l’intérieur même du son
Peebles, Sarah (1996). High-tech Versus My-tech
Pennycook, Bruce (1993). La musique électroacoustique en concert : vieux problèmes, nouvelles solutions
Pennycook, Bruce (1997). Live Electroacoustic Music: Old Problems, New Solution
Piché, Jean (1981). Thoughts, Contentions, and Composition: Electronic Music 1981
Polfreman, Richard, Sheppard, David, Dearden, Ian (2006). Time to re-wire? Problems and strategies for the maintenance of live electronics
Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures
Pope, Steven Travis (Ed.) (1994). Music and Computers: NEMO Composers Panel Discussion
Potter, John (1979). Electronics and the Live Performer
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Prins, Gert-Jan (2004). RISK: The Use of High-Frequency Radio Electronics for Audio Recreation
Pritchett, James (2004). David Tudor as Composer/Performer in Cage’s {Variations II}
Puckette, Miller (1991). Something Digital
Radovanovic, Vladan (1980). The Composer Between Man and Music
Raes, Godfried-Willem (1992). A Personal Story of Music and Technologies
Rebelo, Pedro, Renaud, Alain B. (2006). The Frequencyliator - Distributing Structures for Networked Laptop Improvisation
Reich, Steve (1995). My Life with Technology
Richards, John (2006). 32kg: Performance Systems for a Post-Digital Age
Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field’ spaces
Risset, Jean-Claude (1990). Composer le son: expérience avec l’ordinateur, 1964-1989
Risset, Jean-Claude (1999a). Composing in Real-time?
Rizzardi, Veniero (1999). Notation, Oral Tradition and Performance Practice in the Works with Tape and Live Electronics by Luigi Nono
Roche, Colin (2003). Du sens politique dans l’utilisation des sons électroniques: {Machinations} de Georges Aperghis, {Tombeaux} de Pierre-Albert Castanet et {Le Grand Jeu} de Bruno Mantovani
Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss
Rowe, Robert (1993). Interactive Music Systems: Machine Listening and Composing
Rowe, Robert (1995). Incrementally Improving Interactive Music Systems
Rowe, Robert (1999). The Aesthetic of Interactive Music Systems
Ruget-Langlois, Nathalie (2003). Luigi Nono : la résonance sémantique à travers l’électronique
Russcol, Herbert (1972). The Liberation of Sound

 

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