Musicology of Electroacoustic Music [MEM]  >  Discourse within Electroacoustic Music  ]

Historically, much electroacoustic music has privileged the creation of new and original sounds through synthesis or the use of original and ’authentic’ recordings (e.g. close-mic techniques to fix sound objects or Soundscape recordings). More recent aesthetic developments have seen the privileging of the use of existing sounds and musics, with attendant notions of ’borrowing’, ’stealing’, ’recycling’ and ’recontextualising’. This aesthetically-charged use of the term is integral to the development of intellectual investigation concerning the notion of Digital Aesthetics.


See also:

Abstract Sound, Acousmatic, Aural Discourse and Mimetic Discourse, Culture-jamming, Digital Aesthetics, Free Music, Hybrid Thinking, Plunderphonics, Reduced Listening, Referential Sound, Sound Object, Soundscape Composition, Transcontextuality




- Digital Creation with Sounds and Music: Collect ( English , French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )



English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Battier, Marc (2003). Création numérique avec les sons et la musique : Introduction en ligne
Battier, Marc (2003b). Notes sur l’électronique dans un opéra récent : {K...} de Philippe Manoury
Gallet, Bastien (2002). Le boucher du prince Wen-houei
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Lalitte, Philippe (1998). {City Life}
Reich, Steve, Vérin, Nicolas (1998). Interview de Steve Reich
Tiffon, Vincent (2003). La partition, le phonographe et l’échantillonneur : usages de la copie en musique


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