Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and M... more Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and Music) Pierre Boulez speaks about the inclusion of technology in composition work at IRCAM and its advantages and disadvantages. He believes that technology is very good to use when it is successful, and provides instances of the need to modify compositions to suit the technology available.
In this chapter, the composer of algorithmic compositions discusses in detail the creation and ap... more In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporar... more A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporary music' (Meanjin 3/1985) on the supposed decline of avant-garde music in contemporary Australian music in favour of tonality. It is observed that Koehne's critique is inadequate in its understanding of avant-garde music, the background to the use of tonality in contemporary music and the relationship of music with the audience.
Australian journal of music education, Oct 1, 1976
To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the C... more To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the Classroom [online]. Australian Journal of Music Education, No. 19, Oct 1976: 65-68. Availability: <http://search.informit.com.au/documentSummary;dn=378995617005808;res=IELHSS> ...
... Experimental music in Australia using live electronics Warren Burt ... A large and varied amo... more ... Experimental music in Australia using live electronics Warren Burt ... A large and varied amount of live-electronic experimental music is performed in Australia. ...
Continuum: Journal of Media & Cultural Studies, 1994
... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observi... more ... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observing fish at the New York Aquarium", installed at the Victorian Centre for Photography, was a work in which multiple small loudspeakers were suspended along a white wall. ...
Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and M... more Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and Music) Pierre Boulez speaks about the inclusion of technology in composition work at IRCAM and its advantages and disadvantages. He believes that technology is very good to use when it is successful, and provides instances of the need to modify compositions to suit the technology available.
In this chapter, the composer of algorithmic compositions discusses in detail the creation and ap... more In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporar... more A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporary music' (Meanjin 3/1985) on the supposed decline of avant-garde music in contemporary Australian music in favour of tonality. It is observed that Koehne's critique is inadequate in its understanding of avant-garde music, the background to the use of tonality in contemporary music and the relationship of music with the audience.
Australian journal of music education, Oct 1, 1976
To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the C... more To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the Classroom [online]. Australian Journal of Music Education, No. 19, Oct 1976: 65-68. Availability: <http://search.informit.com.au/documentSummary;dn=378995617005808;res=IELHSS> ...
... Experimental music in Australia using live electronics Warren Burt ... A large and varied amo... more ... Experimental music in Australia using live electronics Warren Burt ... A large and varied amount of live-electronic experimental music is performed in Australia. ...
Continuum: Journal of Media & Cultural Studies, 1994
... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observi... more ... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observing fish at the New York Aquarium", installed at the Victorian Centre for Photography, was a work in which multiple small loudspeakers were suspended along a white wall. ...
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