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Academic literature on the topic 'Fixed-media music'
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Journal articles on the topic "Fixed-media music"
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Artman, Nicholas, Zack Stiegler, Brandon Szuminsky, and Matthew Albright. "Mass media in the mobile village." Explorations in Media Ecology 19, no. 2 (June 1, 2020): 139–50. http://dx.doi.org/10.1386/eme_00031_1.
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As a constantly connected environment via the Internet and mobile technology, the mobile village reconstructed the means by which content reaches a mass audience. To successfully navigate this environment, audiences must adjust to the new dynamics imposed by mobile technologies. This article examines mass media technologies and practices in an attempt to assess the practical impact of the mobile village within the production, distribution and consumption of media and information. Journalism is now judged less by the news it provides than by the process by which it is produced. Many proclaim the death of radio as traditional broadcast formats become antiquated, however, thanks to increased hardware mobility and bandwidth speeds, podcasts and music streaming services continue to draw listeners. Lastly, television, long a medium fixed in domestic space and oriented around synchronous mass consumption, now streams on demand to mobile devices via wireless Internet connections.
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Sigman, Alexander, and Nicolas Misdariis. "alarm/will/sound: Sound design, modelling, perception and composition cross-currents." Organised Sound 24, no. 1 (April 2019): 54–70. http://dx.doi.org/10.1017/s1355771819000062.
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An ongoing international arts-research-industry collaborative project focusing on the design and implementation of innovative car alarm systems, alarm/will/sound has a firm theoretical basis in theories of sound perception and classification of Pierre Schaeffer and the acousmatic tradition. In turn, the timbre perception, modelling and design components of this project have had a significant influence on a range of fixed media, electroacoustic and media installation works realised in parallel to the experimental research. An examination of the multiple points of contact and cross-influence between auditory warning research and artistic practice forms the backbone of this article, with an eye towards continued development in both the research and the artistic domains of the project.
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Woloshyn, Alexa. "ELECTROACOUSTIC VOICES: SOUNDS QUEER, AND WHY IT MATTERS." Tempo 71, no. 280 (March 3, 2017): 68–79. http://dx.doi.org/10.1017/s0040298217000092.
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AbstractQueer processes abound in fixed media electroacoustic music with voice, in both the composition and listening processes. ‘Queer’ means transgressive, unstable, and disruptive, and queer processes break down restrictive traditional binaries. In this article, I name the queer where some may have thought it does not or could not exist, in well-known works by Berio, Stockhausen and Lucier, as well as lesser-known works by Truax, Normandeau and Westerkamp. Any claim to the queer in these electroacoustic works is inherently political because the core of the term's meaning is to disrupt and perturb the status quo, which is maintained by existing power structures. I outline how composers unsettle the gendered voice and exploit its mediating role between the body and language. Studio manipulation is further enhanced by the acousmatic listening context, which is intimate and unsettling (‘queer’), and can depict the ‘third space’ between the bodies of the voice and listener.
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Fiebig, Gerald. "The Sonic Witness: On the Political Potential of Field Recordings in Acoustic Art." Leonardo Music Journal 25 (December 2015): 14–16. http://dx.doi.org/10.1162/lmj_a_00926.
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Contemporary sonic artworks often use field recordings from places of historic or social significance to address political issues. This article discusses relevant works for radio and fixed media by Peter Cusack, Jacob Kirkegaard, Eliška Cílková, Anna Friz and Public Studio, Stéphane Garin and Sylvestre Gobart, Ultra-red, and Matthew Herbert and outlines how they use both audio and visual/textual information to create awareness of the issues inscribed in these places, from current environmental concerns to the memory of genocide and displacement.
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Redhead, Lauren. "'Entoptic landscape' and 'ijereja': Music as an iterative process." New Sound, no. 49 (2017): 97–113. http://dx.doi.org/10.5937/newso1749097r.
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Entoptic landscape and ijereja are both works that can be considered as expanding collections of materials. They explore the spaces between composition, notation, performance and improvisation by considering all of these activities as equally 'performative'. Each work comprises a set of materials that includes scores, fixed media audio and video, recorded live performances, studio-edited performances, and performance strategies. In the case of each piece, materials created in and by previous performances go on to inform future performances of the music. As such, there can be no 'definitive' performance or statement of the works, and nor can they ever be considered finished or bounded. This is how these pieces conceive of music as an iterative process: they are intended as statements of that process. Nicholas Bourriaud (2010) identifies the creative artist as a 'semionaut': one who must navigate between signs and signifiers in order to negotiate, interpret, and create meaning. In the 'work' of music, the composer, performer and listener can all be thought of as semionauts; they take part in the same processes to create and recreate the 'work'. In my own practices I embody and enact all three of these positions, and I seek to blur the boundaries between listening, performing and composing. Contemporary artistic forms in Bourriaud's terms, then, are 'journey forms': they internalise and externalise an experience of movement through the work as a temporal and spatial territory. The music presented here offers an opportunity for the exploration of the journey form as a compositional strategy, a tool for performance and interpretation, and a framework for criticism.
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AUNER, JOSEPH. "Reich on Tape: The Performance ofViolin Phase." Twentieth-Century Music 14, no. 1 (February 2017): 77–92. http://dx.doi.org/10.1017/s147857221700007x.
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ABSTRACTThe score of Steve Reich'sViolin Phasespecifies that the performer is to recapitulate aspects of the composer's creative process in the studio. Working with a four-channel tape recorder, the violinist and a sound engineer are given detailed directions for creating the basic tape loop that generates the performance tape used in live performance. And yet – no doubt due to the scarcity of appropriate tape recorders – most present-day performers ofViolin Phaseuse looping hardware or software that make it possible to dispense with many of the instructions in the score, including the necessity of having the engineer on stage. That this significant change in performance practice seemingly passes for the most part without notice demonstrates how the decades-long ubiquity of tape has been replaced by a kind of invisibility, through which the particularities of the medium have been subsumed into more generalized notions of fixed media. I argue that the specific materialities of tape and tape machines are not incidental toViolin Phase, but are central to its composition, performance, and reception. A focus on the role of tape, and indeed on the roll of tape itself, can illuminate this and other pieces as well as Reich's deep involvement with music technologies throughout his career.
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Rennie, Tullis. "Socio-Sonic: An ethnographic methodology for electroacoustic composition." Organised Sound 19, no. 2 (June 30, 2014): 117–24. http://dx.doi.org/10.1017/s1355771814000053.
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This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to further the use of contextual information when making compositional decisions with sound materials derived from field recordings: a socio-sonic methodology. To begin the discussion, theoretical readings of sound in context are presented. Parallels are highlighted between the practices of ethnographic study and soundscape composition, illustrated with the work of Steve Feld and the World Soundscape Project. A brief consideration of the soundscape–acousmatic continuum with reference to works by Luc Ferrari, Denis Smalley and Hildegard Westerkamp is followed by a combined summation of ethnographic, soundscape and acousmatic approaches to outline a socio-sonic methodology for composition. Examples of work by Peter Cusack, Justin Bennett and Bob Ostertag are discussed alongside my own workManifest– a fixed-media composition based on field recordings and interviews made at political protests in Barcelona. The potential is for a music considered equally for its sonic and socio-political properties.
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HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (March 2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.
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AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradition. Drawing on media sources and on fieldwork in Hungary and Romania, I examine how authenticity and ‘Gypsiness’ are presented and controlled by the scholars, musicians, and administrators who lead the táncház movement, in particular in the context of camps and workshops dedicated to Hungarian folk music and dance. Organizers often erect clear boundaries of status, genre, and gender roles through such events, which, among other things, address the anxiety raised by Rom musicians’ power in liminal spaces. In addition, I look at how Rom musicians both negotiate with the táncház’s aesthetic of authenticity and challenge it musically. Finally, I discuss how musicians and the crowds that gather to hear and dance to their music together create a carnival atmosphere, breaking down some of the boundaries that organizers work so hard to create. Throughout, I demonstrate that liminality is an extraordinarily pertinent lens through which to view Roma participation in the Hungarian folk music scene.
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Sibirnaya, Maria. "Влияние масс-медиа на сознание человека в пьесах Александра Марданя." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 7 (July 31, 2018): 153–64. http://dx.doi.org/10.14746/kw.2017.7.12.
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Nowadays the influence comprehension of the mass media as one of the most significant factors affecting contemporary culture, acquires the special significance. All kinds of new information receiving by media channels obtain the stereotyped, frequently repeatedly cultural and axiological orientations, which become fixed in people's consciousness. Skillful manipulation of information makes the power of suggestion from mass media practically unlimited. Therefore, the public opinion is created by the mass media. Being so closely intertwined with the mass media, the modern mass culture is coming through all elements of people's lives. Moreover, it appears in the literary works, which reflect the influence of the mass media on the consciousness, mentality, point of view and decisions of the literature characters, using their set example in the literature. Odessian playwright Aleksander Mardan presents his characters in the context of the events, which entails new circumstances both due to the characters decisions and out of more extensive economic and political changes. One may notice the presence of mass media in the form of music, information broadcasts and press almost in all Mardan's play. One may track out the influence on the character’s consciousness and reveal the difference between the official version and what happened in the real life. Using the performance tool, there is the action in the play showing the influence of the stereotypes implicated by the mass media. The performance reveals not only the stereotypes affection influencing the mentality of the characters, but also the viewers whose interpretation of the play’s direction is not always critical enough. Therefore, the question about the relationship between the society and mass media, about the level of freedom in mass media from the society and concerning the influence exerted by mass media on the modern culture and the human's consciousness is repeatedly presented in Alexander Mardаn’s plays.
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Lindstrom, Nicole. "YUGONOSTALGIA: RESTORATIVE AND REFLECTIVE NOSTALGIA IN FORMER YUGOSLAVIA." East Central Europe 32, no. 1-2 (2005): 227–37. http://dx.doi.org/10.1163/18763308-90001039.
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Drawing on Svetlana Boym's distinction between "restorative" and "reflective" nostalgia, the essay maps two broad, and often overlapping, ideal types of Yugonostalgia expressed in and through contemporary former Yugoslav film, popular music, and multi-media. The first expresses reeonstructive longing for an essential Yugoslav past; the second offers self-consciously ambivalent and critical frames in indulging fantasies of this past. What different forms of Yugonostalgia share in common is challenging symbolic geographies of disunity that have dominated political discourse in former Yugoslavia for the last two decades. The two types can be differenciated by their stance toward the presentpast and the future: while both of them are based on fantasies of the past, thc "restorative" Yugonostalgic looks backward towards a seemingly fixed time and space while "reflective" nostalgic restlessly grapples with the dislocation so palpable in the former Yugoslavia to imagine alternative futures.
Dissertations / Theses on the topic "Fixed-media music"
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Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.
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Maas, Jeremy. "Last goodnight amidst superior fog." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6465.
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last goodnight amidst Superior fog (for sinfonietta and fixed media) explores one recorded sound, analyzed at three increasingly quiet amplitude thresholds. From these analyses, I created three harmonic collections, each comprised of the thirty loudest tones under the chosen amplitude thresholds.
Although a re-synthesis of the first collection sounds very similar to the actual acoustic model, the quieter collections point less clearly to an identifiable source. While a computer can show us that these tones exist in the source, what is their role in our perception of the sound? Do they create a background to the loudest tones, adding subtleties that make the sound unique? Or are they beyond our perception, filtered out by our psychological and physiological limitations, and only evident through technological means, like the observation of ultraviolet light? With these questions in mind, I wrote this piece to explore the ambiguous space between these two realities: one close to our perception, and one far from it.
We spend much of our lives saying goodbye. Each of these moments is a threshold between two states of being. Through this piece, I seek to place the listener in this point of transition – a situation in which they are perpetually moving on, but in a sense, not moving at all. Uncertain of boundaries, a process may be perceived as unified - as if observing a single moment from many perspectives.
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Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.
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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Mullaney, Hilary. "The composer isn't there : a personal exploration of place in fixed media composition." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1596.
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This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.
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Williams, Chace Tylor. "Delphinium." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604065986419631.
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Soria, Luz Rosalia. "Portfolio of original compositions." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(721ea6ce-c0bc-4bd3-aa2d-1d0cecbb684e).html.
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This portfolio of compositions investigates the adaptation of state-space models, frequently used in engineering control theory, to the electroacoustic composition context. These models are mathematical descriptions of physical systems that provide several variables representing the system’s behaviours. The composer adapts a set of state-space models of either abstract, mechanical or electrical systems to a music creation environment. She uses them in eight compositions: five mixed media multi-channel pieces and three mixed media pieces. In the portfolio, the composer investigates multiple ways of meaningfully mapping these system’s behaviours into music parameters. This is done either by exploring and creating timbre in synthetic sound, or by transforming existing sounds. The research also involves the process of incorporating state-space models as a real-time software tool using Max and SuperCollider. As real-time models offer several variables of continuous evolutions, the composer mapped them to different dimensions of sound simultaneously. The composer represented the model’s evolutions with either short/interrupted, long or indefinitely evolving sounds. The evolution implies changes in timbre, length and dynamic range. The composer creates gestures, textures and spaces based on the model’s behaviours. The composer explores how the model’s nature influences the musical language and the integration of these with other music sources such as recordings or musical instruments. As the models represent physical processes, the composer observes that the resulting sounds evolve in organic ways. Moreover, the composer not only sonifies the real-time models, but actually excites them to cause changes. The composer develops a compositional methodology which involves interacting with the models while observing/designing changes in sound. In that sense, the composer regards real-time state-space models as her own instruments to create music. The models are regarded as additional forces and as sound transforming agents in mixed media pieces. In fixed media pieces, the composer additionally exploits their linearity to create space through sound de-correlation.
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Chin, Hong-Da. "The Music of Marc Battier, Kee Yong Chong and Gene Coleman: Compositions for Traditional Asian Instruments and Electronics in the Twenty-First Century." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu15107620716369.
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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
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Hallum, Christopher David. "Master's Thesis Recital (composition)." 2012. http://hdl.handle.net/2152/19302.
Full textBooks on the topic "Fixed-media music"
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Simoni, Mary. The Audience Reception of Algorithmic Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.14.
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Contemporary music research and practice have leveraged advances in computing power by integrating computing devices into many aspects of music—from generative music to live coding. This efflorescence of musical practice, process, and product raises complex issues in audience reception. This chapter employs a comparative analysis in a longitudinal study designed to understand the psychological aspects of the audience reception of algorithmic music. It studies four compositions from the latter part of the twentieth century late, presented on fixed media to avoid variability in musical performance. Using a modified think-aloud protocol to collect data, this study shows that reception theory may be applied to the audience reception of algorithmic music using a cognitive-affective model to further understand the process of decoding of meaning. This study puts forth a robust methodology for future longitudinal and comparative research in the audience reception of music and makes recommendations for further research.
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Stirr, Anna Marie. Singing Across Divides. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190631970.001.0001.
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An ethnographic study of music, performance, migration, and circulation, this book examines how forms of love and intimacy are linked to changing conceptions of political solidarity and forms of belonging, through the lens of Nepali dohori song. The book describes dohori: improvised, dialogic performed poetry that is sung, in which a witty repartee of exchanges is based on poetic couplets with a fixed rhyme scheme, often backed by instrumental music and accompanying dance, performed between men and women, with a primary focus on romantic love. The book tells the story of dohori’s relationship with changing ideas of Nepal as a nation-state, and how different concepts of national unity have incorporated marginality, in the intersectional arenas of caste, indigeneity, class, gender, and regional identity. In the aftermath of Nepal’s ten-year civil war, changing political realities, increased migration, and circulation of people, media, and practices are redefining concepts of appropriate intimate relationships and their associated systems of exchange. Through multi-sited ethnography of performances, media production, circulation, reception, and the daily lives of performers and fans in Nepal and the United Kingdom, this book examines how people use dohori to challenge (and uphold) social categories, while also creating affective solidarities.