Marc Battier
Sorbonne University, Music and musicology, Faculty Member
- Université Paris-Sorbonne (Paris IV), Musicology, Faculty Memberadd
- Composeredit
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Research Interests: Computer Science and Art
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ABSTRACT An abstract is not available.
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Research Interests: Computer Science and Art
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In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however limiting myself to it, also dealing... more
In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however limiting myself to it, also dealing with contemporary Western-style instrumental music. Several authors have discussed the question of the relationship between contemporary creation and certain stylistic factors of Asian cultures. They questioned what might constitute identifiable traits unique to Asia that could be observed in contemporary creations and they sought to determine whether systems of relationships can be established. Some, such as Chou Wen-Chung (周文中 Zhou Wenzhong), emphasised syncretism, thus establishing a link with the works of anthropology and cultural studies. In his 1971 article, ‘Asian Concepts and Twentieth-Century Western Composers’, Chou cites many examples that tend to emphasise notions of integration and syncretism across various stylistic gradients found in man...
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Jacques Arveiller Marc Battiler Chris Colere Gilbert Dalmasso ... Groupe Art et Informatique Vincennes Universit6 Paris VIII Paris, France ... Software research for musical applications at the Groupe Art et Informatique Vincennes (GAIV)... more
Jacques Arveiller Marc Battiler Chris Colere Gilbert Dalmasso ... Groupe Art et Informatique Vincennes Universit6 Paris VIII Paris, France ... Software research for musical applications at the Groupe Art et Informatique Vincennes (GAIV) has been devoted almost exclusively to ...
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The life and times of Peter Zinovieff (1933–2021) have been amply commented upon and there are numerous testimonies of his role on developing electronic music as well as his strong impact on musicians throughout the 1970s. However,... more
The life and times of Peter Zinovieff (1933–2021) have been amply commented upon and there are numerous testimonies of his role on developing electronic music as well as his strong impact on musicians throughout the 1970s. However, besides his important role in developing synthesisers, sound processing and various other devices, he is now recognised as a significant pioneer in music with computers. His collaboration with Harrison Birtwistle’s opera The Mask of Orpheus has been deemed an important contribution to contemporary music in Great Britain. Finally, his late return to composition and performance shows his lifelong attachment to innovation and experimentation in music.
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Research Interests: Philosophy and Art
Research Interests: Art History and Art
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Research Interests: Computer Science and Art
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As the techniques used in creating audio art and electronic music become more diversified and increasingly use some sort of computer-oriented notation, the question of analysis of this wide repertoire is revisited. While there are still... more
As the techniques used in creating audio art and electronic music become more diversified and increasingly use some sort of computer-oriented notation, the question of analysis of this wide repertoire is revisited. While there are still many obstacles in its study, this topic attracts more attention today than in the recent past. In this article, I emphasise the need to consider that, when analysing audio art and electronic music, technology, technique and musical style are to be taken in account. To this end, I introduce concepts put forth by the Russian Constructivists as a basis for reflection.
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Encompassing more than a century, music created through the use of diverse artificial audio technologies faces loss: of written documents, of musical scores, of instruments, machines and devices, of functional electronic components, of... more
Encompassing more than a century, music created through the use of diverse artificial audio technologies faces loss: of written documents, of musical scores, of instruments, machines and devices, of functional electronic components, of techniques and of a sense of the necessity which drove musicians to use a particular technology in a given context. In turn, the loss of documents leads to misunderstanding or oblivion. Today's electroacoustic music studies offer ways to remedy the danger of loss.
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Ce volume 17 de Musique • Images • Instruments est le premier consacre a la musique du XXe siecle et a ses instruments. Marc Battier en a ete le concepteur a nos cotes. Il ouvre donc cette livraison par une introduction sur la lutherie... more
Ce volume 17 de Musique • Images • Instruments est le premier consacre a la musique du XXe siecle et a ses instruments. Marc Battier en a ete le concepteur a nos cotes. Il ouvre donc cette livraison par une introduction sur la lutherie electrique et electronique organisee selon plusieurs criteres : cinq periodes qui refletent l’evolution des technologies, une definition des termes « electrique » et « electronique » ; les systemes classificatoires ; les laboratoires de recherche et les studios de musique electro-acoustique, enfin l’evolution des synthetiseurs et des programmes de synthese du son dans le cadre de l’informatique musicale. La section des instruments electriques, propose tout d’abord une synthese de Steve Waksman sur les debuts de la guitare electrique en Amerique du Nord jusqu’a sa large commercialisation a la fin des annees 30. La seconde section, celle des instruments electroniques, s’interesse a la celebre Croix sonore qui fait l’objet d’une etude tres documentee par...
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Sixty years ago, musique concrète was born of the single-handed efforts of one man, Pierre Schaeffer. How did the first experiments become a School and produce so many rich works? As this issue of Organised Sound addresses various aspects... more
Sixty years ago, musique concrète was born of the single-handed efforts of one man, Pierre Schaeffer. How did the first experiments become a School and produce so many rich works? As this issue of Organised Sound addresses various aspects of the GRM activities throughout sixty years of musical adventure, this article discusses the musical thoughts behind the advent and the development of the music created and theoretised at the Paris School formed by the Schaefferian endeavours. Particular attention is given to the early twentieth-century conceptions of musical sounds and how poets, artists and musicians were expressing their quest for, as Apollinaire put it, ‘new sounds new sounds new sounds’. The questions of naming, gesture, sound capture, processing and diffusion are part of the concepts thoroughly revisited by the GRMC, then the GRM in 1958, up to what is known as acousmatic music. Other contributions, such as Teruggi's, give readers insight into the technical environments ...
Research Interests: Art and Organised Sound
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La synthese du son pourrait etre definie comme la composition du sonore. Avant de se risquer a approuver cette hypothese, considerons d'abord les aspects qui entrent en jeu dans cette activite. Avant de nous pencher plus avant sur ce... more
La synthese du son pourrait etre definie comme la composition du sonore. Avant de se risquer a approuver cette hypothese, considerons d'abord les aspects qui entrent en jeu dans cette activite. Avant de nous pencher plus avant sur ce point, j'aimerais d'abord poser deux questions : comment le compositeur s'approprie-t-il la technologie de son epoque? Comment son usage se transforme-t-il en technique? La synthese analogique est un cas tres clair pour la prise en compte des contraintes qui grevent la notion de composition. Les dispositifs materiels resistent : les modifications de timbre sont limitees par la qualite des dispositifs composant l'environnement utilise. La qualite, ici, se comprend comme la categorie de ce qui rend possible l'expression d'une intention. Sur un instrument de musique conventionnel, elle se refere autant a l'excellence du timbre qu'a la ductilite offerte aux modes de jeu de l'instrumentiste. En d'autres termes, ell...
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... On-Line Staff Leonardo On-Line: Patricia Bentson, Nicholas Cronbach, Kathleen Quillian. Leonardo Electronic Almanac: Nisar Keshvani, Natra Haniff. Leonardo Reviews: Michael Punt, Bryony Dalefield, Robert Pepperell, Dene Grigar. ...
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ABSTRACT
Marc Battier & Lin-Ni Liao: "Electronic music in East Asia", The Routledge Research Companion to Electronic Music: Reaching out with Technology, Edited By Simon Emmerson, Taylor & Francis Group, London, May 2018, p. 49-76. -- Abstract... more
Marc Battier & Lin-Ni Liao: "Electronic music in East Asia", The Routledge Research Companion to Electronic Music: Reaching out with Technology, Edited By Simon Emmerson, Taylor & Francis Group, London, May 2018, p. 49-76.
-- Abstract of Article --
While musical production and research from Asia have significantly grown these past few years, they remain somewhat to be discussed and disseminated. There have indeed been more exchanges between the Western world and East Asia, but it is also true that, historically, electronic music has spread unevenly across Asia as a whole. The complicated history, exposed to political turmoil and, in some cases, lack of opportunities to communicate with the rest of world, explains how difficult it has been to get acquainted and understand the musical thought of the region. This is why, in this chapter, we will present some brief historical background whenever we feel it may be useful, but we will mostly present recent developments and the current trends of electronic music in East Asia.1 Rather than focusing on a few specific examples, we have chosen to present an overall landscape in which individual experiments are conducted. There is also something specific about contemporary music in East Asia which is rooted in the contextual presence of traditional culture, such as poetry, music, religion and philosophy. A number of Chinese composers, from the mainland as well as from Taiwan or Hong Kong, are influenced by Taoism or Buddhism, and this gives their music some particularities worth noting.
---- Other articles in the Book---
Introduction: music practice – reaching out with technology
By Simon Emmerson
Research-creation in Latin America
By Ricardo Dal Farra (and others)
Electronic music in East Asia
By Marc Battier, Lin-Ni Liao
The three paths: cultural retention in contemporary Chinese electroacoustic music
By Leigh Landy
Technologies of genre: digital distinctions in Montreal
By Patrick Valiquet
Dancing in the technoculture
By Hillegonda C Rietveld
Participatory sonic arts: the Som de Maré project – towards a socially engaged art of sound in the everyday
By Pedro Rebelo, Rodrigo Cicchelli Velloso
The problems with participation
By Atau Tanaka, Adam Parkinson
The agency of sonic art in changing climates
By Leah Barclay
Tuning and metagesture after new natures
By Sally Jane Norman
Music neurotechnology: a natural progression
By Eduardo Reck Miranda, Joel Eaton
Where are we? Extended music practice on the internet
By Simon Emmerson, Kenneth Fields
Rendering the invisible: BEAST and the performance practice of acousmatic music
By Jonty Harrison
Creative coding for audiovisual art: the CodeCircle platform
By Mick Grierson
-- Abstract of Article --
While musical production and research from Asia have significantly grown these past few years, they remain somewhat to be discussed and disseminated. There have indeed been more exchanges between the Western world and East Asia, but it is also true that, historically, electronic music has spread unevenly across Asia as a whole. The complicated history, exposed to political turmoil and, in some cases, lack of opportunities to communicate with the rest of world, explains how difficult it has been to get acquainted and understand the musical thought of the region. This is why, in this chapter, we will present some brief historical background whenever we feel it may be useful, but we will mostly present recent developments and the current trends of electronic music in East Asia.1 Rather than focusing on a few specific examples, we have chosen to present an overall landscape in which individual experiments are conducted. There is also something specific about contemporary music in East Asia which is rooted in the contextual presence of traditional culture, such as poetry, music, religion and philosophy. A number of Chinese composers, from the mainland as well as from Taiwan or Hong Kong, are influenced by Taoism or Buddhism, and this gives their music some particularities worth noting.
---- Other articles in the Book---
Introduction: music practice – reaching out with technology
By Simon Emmerson
Research-creation in Latin America
By Ricardo Dal Farra (and others)
Electronic music in East Asia
By Marc Battier, Lin-Ni Liao
The three paths: cultural retention in contemporary Chinese electroacoustic music
By Leigh Landy
Technologies of genre: digital distinctions in Montreal
By Patrick Valiquet
Dancing in the technoculture
By Hillegonda C Rietveld
Participatory sonic arts: the Som de Maré project – towards a socially engaged art of sound in the everyday
By Pedro Rebelo, Rodrigo Cicchelli Velloso
The problems with participation
By Atau Tanaka, Adam Parkinson
The agency of sonic art in changing climates
By Leah Barclay
Tuning and metagesture after new natures
By Sally Jane Norman
Music neurotechnology: a natural progression
By Eduardo Reck Miranda, Joel Eaton
Where are we? Extended music practice on the internet
By Simon Emmerson, Kenneth Fields
Rendering the invisible: BEAST and the performance practice of acousmatic music
By Jonty Harrison
Creative coding for audiovisual art: the CodeCircle platform
By Mick Grierson