Live electronic music
Encyclopedia
Live electronic music generally utilizes instrumental
or electronic sounds but excludes those that have been prerecorded. The timbre
s of the various sounds may then be transformed extensively during performance using devices such as amplifier
s, filters
, ring modulators
and other forms of circuitry
(Sutherland 1994, 157).
During the 1960s, a number of composers believed studio-based composition, such as musique concrète
, lacked elements that were central to the creation of live music
, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance (Sutherland 1994, 157). By the 1970s, live electronics had become the primary area of innovation in electronic music (Simms 1986, 395).
Early electronic instruments such as the Telharmonium
, Theremin
, ondes Martenot
, and Trautonium
were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance (Collins 2007, 39).
Cage’s Imaginary Landscape No. 1
(1939) was among the earliest compositions to include an innovative use of live electronic material, it featured two variable-speed phonograph turntables and sine tone recordings (Collins 2007, 38–39).
Musical instrument
A musical instrument is a device created or adapted for the purpose of making musical sounds. In principle, any object that produces sound can serve as a musical instrument—it is through purpose that the object becomes a musical instrument. The history of musical instruments dates back to the...
or electronic sounds but excludes those that have been prerecorded. The timbre
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
s of the various sounds may then be transformed extensively during performance using devices such as amplifier
Amplifier
Generally, an amplifier or simply amp, is a device for increasing the power of a signal.In popular use, the term usually describes an electronic amplifier, in which the input "signal" is usually a voltage or a current. In audio applications, amplifiers drive the loudspeakers used in PA systems to...
s, filters
Electronic filter
Electronic filters are electronic circuits which perform signal processing functions, specifically to remove unwanted frequency components from the signal, to enhance wanted ones, or both...
, ring modulators
Ring modulation
Ring modulation is a signal-processing effect in electronics, an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals, where one is typically a sine-wave or another simple waveform. It is referred to as "ring" modulation because the analog circuit of...
and other forms of circuitry
Electronic circuit
An electronic circuit is composed of individual electronic components, such as resistors, transistors, capacitors, inductors and diodes, connected by conductive wires or traces through which electric current can flow...
(Sutherland 1994, 157).
During the 1960s, a number of composers believed studio-based composition, such as musique concrète
Musique concrète
Musique concrète is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sounds derived from musical instruments or voices, nor to elements traditionally thought of as "musical"...
, lacked elements that were central to the creation of live music
Live Music
Live Music is a reggaeton company owned by DJ Giann.-Artists:* Jowell & Randy* Tony Lenta* Watussi* De La Ghetto* Guelo Star* Galante "El Emperador"-Producers:*DJ Blass*Dexter*Mr. Greenz*DJ Giann*Los Hitmen*Dirty Joe*ALX...
, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance (Sutherland 1994, 157). By the 1970s, live electronics had become the primary area of innovation in electronic music (Simms 1986, 395).
Early electronic instruments such as the Telharmonium
Telharmonium
The Telharmonium was an early electronic musical instrument, developed by Thaddeus Cahill in 1897. The electrical signal from the Telharmonium was transmitted over wires; it was heard on the receiving end by means of 'horn' speakers.Like the later Hammond organ, the Telharmonium used tonewheels to...
, Theremin
Theremin
The theremin , originally known as the aetherphone/etherophone, thereminophone or termenvox/thereminvox is an early electronic musical instrument controlled without discernible physical contact from the player. It is named after its Russian inventor, Professor Léon Theremin, who patented the device...
, ondes Martenot
Ondes Martenot
The ondes Martenot , also known as the ondium Martenot, Martenot and ondes musicales, is an early electronic musical instrument invented in 1928 by Maurice Martenot. The original design was similar in sound to the theremin...
, and Trautonium
Trautonium
The trautonium is a monophonic electronic musical instrument invented about 1929 by Friedrich Trautwein in Berlin at the Musikhochschule's music and radio lab, the Rundfunkversuchstelle. Soon Oskar Sala joined him, continuing development until Sala's death in 2002. Instead of a keyboard, its manual...
were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance (Collins 2007, 39).
Cage’s Imaginary Landscape No. 1
Imaginary Landscape No. 1
Imaginary Landscape No. 1 is a composition by the American composer John Cage. Written in 1939 at the Cornish College of the Arts in Seattle, Washington, the work is the first in Cage’s series of five Imaginary Landscape pieces....
(1939) was among the earliest compositions to include an innovative use of live electronic material, it featured two variable-speed phonograph turntables and sine tone recordings (Collins 2007, 38–39).
Notable works 1960-69
- John Cage - Cartridge music (1960)
- Richard Maxfield - Piano Concert for David Tudor (1961)
- Robert Ashley - Wolfman (1964)
- Karlheinz Stockhausen - Mikrophonie I & IIMikrophonie (Stockhausen)Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which “normally inaudible vibrations . ....
(1964 and 1965); MixturMixturMixtur, for orchestra, 4 sine-wave generators, and 4 ring modulators, is an orchestral composition by the German composer Karlheinz Stockhausen, written in 1964, and is Nr. 16 in his catalogue of works...
(1964) - Alvin Lucier - Music for Solo Performer (1965)
- David Behrman - Wave Train (1967)
- Gordon Mumma - Hornpipe (1967)
- Max Nuehaus - Drive-in Music (1968)
- Larry Austin - Accidents (1968)
- Richard Teitelbaum - In Tune (1968)
- Takehisa Kosugi - 712-9374 (1969)
Further reading
- Andraschke, Peter (2001). “Dichtung in Musik: Stockhausen, Trakl, Holliger.” In Stimme und Wort in der Musik des 20. Jahrhunderts, edited by Hartmut Krones, pp. 341–55. Vienna: Böhlau. ISBN 978-3-205-99387-2.
- Burns, Christopher (2002). “Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electronic Music.” Journal of New Music Research 31, no. 1 (March): 59–68.
- Cox, Christoph (2002). “The Jerrybuilt Future: The Sonic Arts Union, Once Group and MEV’s Live Electronics.” In Undercurrents: The Hidden Wiring of Modern Music, edited by Rob Young, pp. 35–44. London: Continuum. ISBN 978-0-8264-6450-7.
- Davies, Hugh (2001). “Gentle Fire: An Early Approach to Live Electronic Music.” Leonardo Music Journal 11 (“Not Necessarily ‘English Music’: Britain’s Second Golden Age”): 53–60.
- Giomi, Francesco, Damiano Meacci and Kilian Schwoon (2003). “Live Electronics in Luciano Berio’s Music.” Computer Music Journal 27, no. 2 (Summer): 30–46.
- Stroppa, Marco (1999). “Live Electronics or … Live Music? Towards a Critique of Interaction.” Contemporary Music Review 18, no. 3 (“Aesthetics of Live Electronic Music”): 41–77.