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Books on the topic 'Brussels. Electronic Music Studio'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Consult the top 19 books for your research on the topic 'Brussels. Electronic Music Studio.'

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1

Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1993.

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2

Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1997.

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3

Holland, Sam. Teaching toward tomorrow: A music teacher's primer for using electronic keyboards, computers, and MIDI in the studio. Loveland, Ohio: Debut Music Systems, 1993.

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4

Das Siemens-Studio für elektronische Musik: Geschichte, Technik und kompositorische Avantgarde um 1960. Tutzing: Verlegt bei Hans Schneider, 2014.

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5

Scaldaferri, Nicola. Musica nel laboratorio elettroacustico: Lo Studio di fonologia di Milano e la ricerca musicale negli anni Cinquanta. Lucca: Libreria musicale italiana, 1997.

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6

Morawska-Büngeler, Marietta. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunks in Köln, 1951-1986. Köln-Rodenkirchen: P.J. Tonger, 1988.

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7

Flašar, Martin. Poème électronique 1958: Le Corbusier, E. Varese, I. Xenakis. Brno: Masarykova univerzita, 2012.

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8

Das Experimentalstudio der Heinrich-Strobel-Stiftung des Südwestfunks Freiburg 1971-1989: Die Erforschung der elektronischen Klangumformung und ihre Geschichte. Baden-Baden: Nomos, 1995.

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9

Fruityloops: The Ultimate Electronic Virtual Music Studio (Quick Start (Music Sales)). Music Sales Corporation (United Kingdom), 2003.

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10

Performance Practice of Electroacoustic Music: The Studio Di Fonologia Years. Lang AG International Academic Publishers, Peter, 2018.

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11

Ida, De Benedictis Angela, Rizzardi Veniero, Archivi della musica italiana contemporanea., and Comitato nazionale italiano musica, eds. Nuova musica alla radio: Esperienze allo studio di fonologia della RAI di Milano : 1954-1959. Roma: RAI-ERI, 2000.

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12

The Recording Guitarist: A Guide to Studio Hardware and Software (Revised and Updated Edition) (Music Pro Guide Books & DVDs). Hal Leonard, 2010.

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13

Paolo, Donati, and Pacetti Ettore, eds. C'erano una volta nove oscillatori: Lo Studio di fonologia della Rai di Milano nello sviluppo della nuova musica in Italia. [Roma]: Rai Teche, 2002.

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14

Unsayable Music: Six Reflections on Musical Semiotics, Electroacoustic and Digital Music. Cornell University Press, 2014.

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15

Iverson, Jennifer. Electronic Inspirations. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.001.0001.

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Cold War electronic music—made with sine tone and white-noise generators, filters, and magnetic tape—was the driving force behind the evolution of both electronic and acoustic music in the second half of the twentieth century. Electronic music blossomed at the Westdeutscher Rundfunk (WDR [West German Radio]) in Cologne in the 1950s, when technologies were plentiful and the need for cultural healing was great. Building an electronic studio, West Germany confronted the decimation of the “Zero Hour” and began to rebuild its cultural prowess. The studio’s greatest asset was its laboratory culture, where composers worked under a paradigm of invisible collaboration with technicians, scientists, performers, intellectuals, and the machines themselves. Composers and their invisible collaborators repurposed military machinery in studio spaces that were formerly fascist broadcasting propaganda centers. Composers of Cold War electronic music reappropriated information theory and experimental phonetics, creating aesthetic applications from military discourses. In performing such reclamations, electronic music optimistically signaled cultural growth and progress, even as it also sonified technophobic anxieties. Electronic music—a synthesis of technological, scientific, and aesthetic discourses—was the ultimate Cold War innovation, and its impacts reverberate today.

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16

Levy, Benjamin R. Electronic Works (1957–58). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0003.

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This chapter examines the compositional processes used in Ligeti’s three electronic pieces. After his flight from Hungary during the 1956 revolution and his arrival in Cologne in 1957, Ligeti began to work at the electronic music studio of the Westdeutscher Rundfunk. There he met luminaries of the Western European avant-garde including Karlheinz Stockhausen, Gottfried Michael Koenig, and Mauricio Kagel. Immersing himself in the experimental techniques that they expounded, he produced two finished works for tape, Glissandi and Artikulation. In between time spent on these he started another, now called Pièce électronique no. 3 but originally conceived under the title Atmosphères. These works show a remarkable assimilation of ideas from Stockhausen but also reveal diverging aesthetic goals that anticipate Ligeti’s future direction.

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17

Levy, Benjamin R. Apparitions and Atmosphères (1958–61). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0004.

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This chapter examines Ligeti’s breakthrough orchestral works Apparitions and Atmosphères. These successful compositions translate some of the ideas developed in the electronic music studio into orchestral writing, in particular, techniques for organizing rhythm and for handling sound masses to create a static surface with a sense of internal motion. In interviews Ligeti claimed to have attempted to move in this direction while still in Hungary with the unfinished pieces Víziók and Sötét és Világos. A comparison of the extant sketches for these works shows the degree to which his experiences in the electronic studio resulted in a refinement of compositional technique, nuanced textures, and original orchestration.

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18

Weinel, Jonathan. Psychedelic Illusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0004.

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This chapter explores how music technologies and electronic studio processes relate to altered states of consciousness in popular music. First, an overview of audio technologies such as multi-tracking, echo, and reverb is given, in order to explore their illusory capabilities. In the rock ’n’ roll music of the 1950s, studio production techniques such as distortion provided a means through which to enhance the energetic and emotive properties of the music. Later, in surf rock, effects such as echo and reverb allowed the music to evoke conceptual visions of teenage surf culture. In the 1960s and 1970s, these approaches were developed in psychedelic rock music, and space rock/space jazz. Here, warped sounds and effects allowed the music to elicit impressions of psychedelic experiences, outer space voyages, and Afrofuturist mythologies. By exploring these areas, this chapter shows how sound design can communicate various forms of conceptual meaning, including the psychedelic experience.

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19

Fulton, Will. Stevie Wonder’s Tactile Keyboard Mediation, Black Key Compositional Development, and the Quest for Creative Autonomy. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.22.

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There has been limited examination of Stevie Wonder’s compositional process and performance style as they relate to his disability. One largely unaddressed aspect of Wonder’s work is the keyboard performance technique used on his funk recordings, which feature a style of performance that he developed in part due to his blindness. Wonder’s studio recordings of the early 1970s exhibit what could be understood as the problem of autonomy for a disabled musician. As Wonder creates recordings as a technological one-man band using the assistance of multitrack recording, he strives toward creative autonomy. At the same time, the recording studio serves as a site for “complex power relations” that are common between people with disabilities and those who assist them. The availability of newer, smaller electronic instruments later made it possible for Wonder to increase his personal control over music production and to pioneer the use of new recording technologies.

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