Live Electronics

Genres and Categories [G&C]  ]

A term dating from the analogue age of electroacoustic music that describes performance involving electronic instruments which can be performed in real-time. The term is more commonly expressed today as music involving interactive instruments.

 

See also:

Interactivity

 

Bibliography:

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Allick, Kristi A., Mulder, Robert C. F. (1993). Skyharp: An Interactive Electroacoustic Instrument
Allouis, Jean-François, Delalande, François (1986). Syter et le temps réel
Andersen, Tue Haste (2003). Mixxx: Towards Novel DJ Interfaces
Anderson, Christine (2005). Dynamic Networks of Sonic Interactions: An Interview with Agostino Di Scipio
Appleton, Jon (1984). Live and In Concert: Composer/Performer Views of Real-Time Performance Systems
Appleton, Jon (1986). The Computer and Live Musical Performance
Appleton, Jon (1999). Reflexions of a Former Performer of Electroacoustic Music
Appleton, Jon H., Perera, Ronald C. (1975). The Development and Practice of Electronic Music
Arriagada, Jorge, Vuarnet, Jean-Noël (1972). Euterpe 72 de l’instrumentale à l’électro-acoustique instrumentale
Ashline, William H. (2003). The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv
Austin, Larry (1991). Live-electronic Music on the Third Coast
Auzet, Roland (2000). Gesture-following Devices for Percussionists
Baalman, Marije A. J. (2003). The STRIMIDILATOR: a String Controlled MIDI-Instrument
Bahn, Curtis, Hahn, Tomie, Trueman, Dan (2001). Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music
Barrett, Richard (2006). Improvisation Notes August 2005
Battier, Marc (1992). Sculpter la transparence. L’écriture, le geste, l’environnement
Battier, Marc (1995a). Une nouvelle géométrie du son. Le paradoxe de la lutherie électronique
Battier, Marc (2003d). Laboratoires
Behrman, David (2006). David Behrman [on improvisation]
Behrman, David, Kuivila, Ron (1998). Composing with Shifting Sand: A Conversation between Ron Kuivila and David Behrman on Electronic Music and the Ephemerality of Technology
Bennett, Gerald (1990). Repères électro-acoustiques
Bennett, Justin (1999). BMB con.: Collaborative Experiences with Sound, Image and Space
Berio, Luciano, Chion, Michel (1975). Luciano Berio et l’avenir de la musique électroacoustique
Bernardini, Nicola (1986). Live electronics
Bernardini, Nicola, Vidolin, Alvise (2005). Sustainable Live Electroacoustic Music
Bischoff, John (1991). Software as Sculpture: Creating Music from the Ground Up
Blonk, Jaap, Peer, René van (2005). Sounding the Outer Limits
Bowers, John (2003). Improvising Machines: Ethnographically Informed Design for Improvised Electro-acoustic Music
Brown, Nicholas (2006). The flux between sounding and sound: Towards a relational understanding of music as embodied action
Bullock, Jamie, Coccioli, Lamberto (2006). Modernising musical works involving Yamaha DX-based synthesis: a case study
Burns, Christopher (2001). Realizing Lucier and Stockhausen: Case Studies in Electroacoustic Performance Practice
Burns, Christopher (2002a). Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music
Burt, Warren (1991). Experimental Music in Australia Using Live Electronics
Camurri, Antonio, Trocca, Riccardo (2000). Movement and Gesture in Intelligent Interactive Music Systems
Cannon, Cormac, Hughes, Stephen, Ó Modhráin, Síle (2003). EpipE: Exploration of the Uilleann Pipes as a Potential Controller for Computer-based Music
CARDI, Mauro, CECCARELLI, Luigi (2007). “Live electronics”
Cascone, Kim (2001). The Microsound Scene: An Interview with Kim Cascone
Cascone, Kim (2003). Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music
Casserley, Lawrence (2001). Plus ça change: Journeys, Instruments and Networks, 1966-2000
Chadabe, Joel (1981). Paths to a Point in a Musical Landscape
Chadabe, Joel (1983). Interactive Composing: An Overview
Chadabe, Joel (2000a). Devices I have Known and Loved
Chadabe, Joel (2001). Preserving Performances of Electronic Music
Chapman, Jane (2000). Points of Departure: An Interview with Simon Emmerson
Chion, Michel (1982). La musique électroacoustique
Cipriani, Alessandro, Ciardi, Fabio Cifariello, Ceccarelli, Luigi, Cardi, Mauro (2004). Collective Composition: The Case of Edison Studio
Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument
Collins, Nick (2003a). Generative Music and Laptop Performance
Collins, Nicolas (1991). Low Brass: The evolution of Trombone-Propelled Electronics
Croft, John (2007). Theses on liveness
Cross, Lowell (1999). {Reunion}: John Cage, Marcel Duchamp, Electronic Music and Chess
Curran, Alvin (1994). {Music from the Centre of the Earth}: Three Large-Scale Sound Installations
Cvejic, Bojana (2001). Near and Far. {A Nocturne of Belgrade Spring 1999} for Chamber Ensemble, Live Electronics and Audio Tape, by Srdjan Hofman
D’Arcangelo, Gideon (2004). Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music
D’Escriván, Julio (2006). To sing the body electric: Instruments and effort in the performance of electronic music
Dack, John (1999b). The Creative Power of the Machine
Dack, John (2004). “Open” Forms and the Computer
Davies, Hugh (1986). Storia ed evoluzione degli strumenti musicali elettronici (Historical evolution of electronic music instruments)
Davies, Hugh (1990). Instruments électroniques : classification et mécanismes
Davies, Hugh (1992). New Musical Instruments in the Computer Age: Amplified Performance Systems and Related Examples of Low-level Technology

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