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Artículos de revistas sobre el tema "Electronic music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)." PROMUSIKA 9, no. 2 (2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan y

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2

Vickery, Lindsay. "The Western Edge: some recent electronic music from Western Australia." Organised Sound 6, no. 1 (2001): 69–74. http://dx.doi.org/10.1017/s1355771801001108.

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A survey is presented of developments in recent Western Australian electronic music, focusing on the geographical influence on local composers' work. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), Live Electronics (Cathie Travers and the electronic music quartet Magnetic Pig), Interactive Electronics (Jonathan Mustard and Lindsay Vickery) and Noise/Lo Fi Electronics (Cat Hope and Lux Mammoth).

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3

Magalhães, Manoel. "Peripheral Electronic Music." Intercultural Relations 8, no. 2(16) (2024): 75–90. https://doi.org/10.12797/rm.02.2024.16.04.

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Tecnobrega is a peripheral electronic music produced since the 2000s in the state of Pará, in northern Brazil. It is marked by the mix of traditional local romantic music, the rhythms from the Caribbean and electronic music globalized by the spread of recording technologies. In the last decade, the tecnobrega unfolded in several rhythm variants. This work presents an ethnography of parties related to new trend called ‘rock doido,’ the main current phenomenon of electronic music in Pará, both due to the size of the parties and the reach in digital media. The article presents the results of fiel

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4

Sofer, Danielle. "Categorising Electronic Music." Contemporary Music Review 39, no. 2 (2020): 231–51. http://dx.doi.org/10.1080/07494467.2020.1806628.

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5

Lewis, Ralph. "Electronic Music Midwest." Computer Music Journal 43, no. 1 (2020): 79–87. http://dx.doi.org/10.1162/comj_r_00501.

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6

Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic

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7

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yan

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8

Vágnerová, Lucie. "‘Nimble Fingers’ in Electronic Music: Rethinking sound through neo-colonial labour." Organised Sound 22, no. 2 (2017): 250–58. http://dx.doi.org/10.1017/s1355771817000152.

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How can historians of electronic music address the factory labour of the global underclass of women building electronics used in sound technologies? How can we speak to the repetitive work of women who are racially and sexually stereotyped as having ‘nimble fingers’, being ‘detail oriented’ and ‘obedient’? Although women workers in electronics assembly are already de facto entangled in contemporary sound production, scholars have yet to enfold their lives and labour into histories of electronic music. I situate electronic sound technologies since the 1960s in the contexts of the global divisio

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9

Heuguet, Guillaume. "Electronic music history reloaded: Ishkur’s online “Guide to electronic music 3.0”." Sound Studies 6, no. 2 (2020): 275–79. http://dx.doi.org/10.1080/20551940.2020.1794332.

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10

Mazierska, Ewa. "Improvisation in Electronic Music—The Case of Vienna Electronica." Open Cultural Studies 2, no. 1 (2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

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Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also

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11

Hammer, Ernest Lee, and Peter Manning. "Electronic and Computer Music." Computer Music Journal 12, no. 2 (1988): 54. http://dx.doi.org/10.2307/3679942.

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12

Lehrman, Paul D., and Thomas B. Holmes. "Electronic and Experimental Music." Computer Music Journal 10, no. 3 (1986): 93. http://dx.doi.org/10.2307/3680269.

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13

Mallinckrodt, A. John, and Peter Manning. "Electronic and Computer Music." Leonardo 21, no. 2 (1988): 210. http://dx.doi.org/10.2307/1578564.

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14

Rothstein, Joseph. "Pioneers of Electronic Music." American Music 12, no. 1 (1994): 118. http://dx.doi.org/10.2307/3052502.

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15

Verma, Sourav. "Significance of electronic music." International Journal of Applied Research 7, no. 1 (2021): 97–99. http://dx.doi.org/10.22271/allresearch.2021.v7.i1b.8159.

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16

Poissant, Louise. "Part III: Electronic Music." Leonardo 34, no. 3 (2001): 261–64. http://dx.doi.org/10.1162/002409401750287047.

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17

CHADABE, JOEL. "Electronic music and life." Organised Sound 9, no. 1 (2004): 3–6. http://dx.doi.org/10.1017/s1355771804000020.

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At any moment in the history of a particular culture, there exists a dominant paradigm, an idea in the air, that expresses the way the world works. These paradigms are general and their manifestations are interdisciplinary, first expressed as structures, relationships and processes in the avant gardes of all fields, then gradually accepted as a norm by almost everyone.

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18

CHADABE, JOEL. "The Electronic Music Foundation." Organised Sound 2, no. 1 (1997): 25–27. http://dx.doi.org/10.1017/s135577189700006x.

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The background to the creation of an international resource organisation is discussed. The author goes on to describe various activities of the Foundation, including the provision of hard-to-obtain CDs and access to other materials of interest to the electroacoustic community. The Foundation maintains a substantial presence on the World Wide Web: http://www.emf.org

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19

Behague, Gerard, Alcides Lanza, and Meg Sheppard. "Instrumental & Electronic Music." Latin American Music Review / Revista de Música Latinoamericana 18, no. 2 (1997): 337. http://dx.doi.org/10.2307/780404.

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20

Kretschmer, Martin, George Michael Klimis, and Roger Wallis. "Music in Electronic Markets." New Media & Society 3, no. 4 (2001): 417–41. http://dx.doi.org/10.1177/14614440122226164.

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21

Segan, Marc Howard. "Electronic acoustic music engine." Journal of the Acoustical Society of America 119, no. 4 (2006): 1910. http://dx.doi.org/10.1121/1.2195812.

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22

Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era mu

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23

Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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24

Haworth, Christopher. "‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica." Organised Sound 21, no. 1 (2016): 15–29. http://dx.doi.org/10.1017/s1355771815000345.

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This article explores the workings of genre in experimental electronic musics. Predominantly sociological in orientation, it has three main foci. First, it addresses practitioners’ and theorists’ resistances to the concept of genre in experimental musics. Drawing on recent developments in genre theory, it discusses the problems of agency, mediation and scale that any discussion of genre calls forth, pitting them alongside theories that emphasise genre’s necessity and inevitability in communication. The second section examines the politics of genre as they play out in practice, focusing on the

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25

Mau, Heidi, and Cheryl L. Nicholas. "“Authenticity” in Popular Electronic Music." Journal of Popular Music Studies 32, no. 1 (2020): 106–22. http://dx.doi.org/10.1525/jpms.2020.32.1.106.

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This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who

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26

Ardiyanto, Yoga, Elizar Elizar, and Ediwar Ediwar. "“Five Of Quin” Eksplorasi Nada Pada Pola Ritme Pengantar Lagu Randai Kuantan Di Kabupaten Kuantan Singingi Provinsi Riau." Jurnal Musik Etnik Nusantara 1, no. 1 (2021): 57. http://dx.doi.org/10.26887/jmen.v1i1.2014.

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Five Of Quin” ini adalah sebuah karya komposisi musik yang terinspirasi dari pola ritme pengantar lagu musik Randai Kuantan Kabupaten Kuantan Singingi, Provinsi Riau. Pengkarya melakukan analisa dan eksplorasi nada dari pola Tersebut sehingga menghasilkan sebuah interval nada baru yaitu A,B,Cis,E,Fis, dan nterval nada baru inilah yang menjadi fokus pengkarya Dalam penggarapan karya ini. Tujuan dari pembuatan karya ini adalah Untuk Melakukan sebuah inovasi (pembaruan) yang berawal dari sebuah Kesenian tradisional di berbagai aspek garap kedalam sebuah komposisi musik yang sesuai dengan konsep y

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27

Li, Lan, and Guan Wang. "Design and Application of Interactive Music Equipment Based on Wireless Wearable Sensors." Scientific Programming 2022 (April 8, 2022): 1–10. http://dx.doi.org/10.1155/2022/4719884.

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The fusion of emerging technology, means, and music has provided a diversified development direction for the performance form of electronic music. Interactive electronic music has become a hot form of music performance in recent years and is widely used in various art exhibitions. In this paper, we will briefly explain the basic principles and practical applications of wireless wearable sensing devices, sort out the development of interactive platforms and sensors, and study the application value of wireless wearable sensing devices in interactive electronic music works. Near-field communicati

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28

Hagan, Kerry L. "The Intersection of ‘Live’ and ‘Real-time’." Organised Sound 21, no. 2 (2016): 138–46. http://dx.doi.org/10.1017/s1355771816000066.

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Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionall

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29

Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by per

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30

Shi, X. J., Y. Y. Cai, and C. W. Chan. "Electronic Music for Bio-Molecules Using Short Music Phrases." Leonardo 40, no. 2 (2007): 137–41. http://dx.doi.org/10.1162/leon.2007.40.2.137.

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The authors explore protein sonification issues using Morse code theory. Short musical phrases based on protein amino acids are used to compose protein music. Rhythms and tunes familiar to teenagers are also investigated, with the aim of producing different genres of protein music. A special musical instrument, the Chinese guzheng, can be employed to play the protein music. Experiment is carried out with different proteins, including the HIV main protease. It is hoped that this study can help unveil the mysteries of nature and motivate students to learn biology.

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31

Puckette, Miller. "Four surprises of electronic music." Lumina 11, no. 2 (2017): 126–38. http://dx.doi.org/10.34019/1981-4070.2017.v11.21445.

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The evolution of electronic music practice over the past half century has not gone precisely as we expected. In this paper, we describe four respects in which the development of electronic music was either overtaken by unexpected developments, or, itself, headed in new and unexpected directions.

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32

Jackson, Randolph N. "The Future of Electronic Music." Computer Music Journal 13, no. 1 (1989): 10. http://dx.doi.org/10.2307/3679850.

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33

Vantomme, Jason D., and Joe McMahon. "Electronic Resources for Computer Music." Computer Music Journal 18, no. 4 (1994): 8. http://dx.doi.org/10.2307/3681350.

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34

Gligo, Niksa, and Simon Emmerson. "Music, Electronic Media and Culture." International Review of the Aesthetics and Sociology of Music 33, no. 2 (2002): 207. http://dx.doi.org/10.2307/4149780.

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35

Chadabe, Joel. "Preserving Performances of Electronic Music." Journal of New Music Research 30, no. 4 (2001): 303–5. http://dx.doi.org/10.1076/jnmr.30.4.303.7485.

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36

Terrio, Robert D. "Electronic and Computer Music (review)." Notes 61, no. 3 (2005): 746–49. http://dx.doi.org/10.1353/not.2005.0037.

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37

Kuivila, Ron. "David Tudor: Live Electronic Music." Leonardo Music Journal 14 (December 2004): 105. http://dx.doi.org/10.1162/0961121043067334.

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38

Kuivila, Ron. "David Tutor: Live Electronic Music." Leonardo Music Journal 14 (December 2004): 106–7. http://dx.doi.org/10.1162/0961121043067370.

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39

Bijsterveld, Karin. "Electronic and Computer Music (review)." Technology and Culture 46, no. 4 (2005): 867–68. http://dx.doi.org/10.1353/tech.2006.0003.

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40

Richards, John. "Editorial: Re-wiring Electronic Music." Organised Sound 18, no. 3 (2013): 240–41. http://dx.doi.org/10.1017/s1355771813000204.

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41

Richards, John. "Beyond DIY in Electronic Music." Organised Sound 18, no. 3 (2013): 274–81. http://dx.doi.org/10.1017/s1355771813000241.

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Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the ‘something to t

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42

Wilson, Daniel R. "Failed Histories of Electronic Music." Organised Sound 22, no. 2 (2017): 150–60. http://dx.doi.org/10.1017/s1355771817000061.

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This article counters the canonical histories of electronic music that traditionally begin with Cahill’s Telharmonium and find their historical centre in the activities of the Paris and Cologne studios of the mid-twentieth century. The concept of ‘failed histories’ is introduced here with three important examples. The first chronicles the career of electromusical innovator Johann Baptist Schalkenbach (1824–1910). The second example examines Britain’s earliest electronic sound performance in 1895, signalling a rupture between electromusical bombast and the detailed, quiet work of the experiment

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43

Mayuzumi, Toshiro, and Cathy L. Cox. "Electronic Music 7 Variations (1957)." Contemporary Music Review 37, no. 1-2 (2018): 121–25. http://dx.doi.org/10.1080/07494467.2018.1453345.

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44

Bennett, Bruce. "Eighth Electronic Music Midwest Festival." Computer Music Journal 31, no. 2 (2007): 73–74. http://dx.doi.org/10.1162/comj.2007.31.2.73.

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45

Schedel, Margaret. "Simon Emmerson: Living Electronic Music." Computer Music Journal 32, no. 4 (2008): 83–84. http://dx.doi.org/10.1162/comj.2008.32.4.83.

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46

Harley, James. "Henk Badings: More Electronic Music." Computer Music Journal 35, no. 1 (2011): 111–12. http://dx.doi.org/10.1162/comj_r_00046.

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47

BONDARENKO, Andrii, Anastasiia ROMANENKO, and Olena BONDARENKO. "ELECTRONIC MUSIC AS DIGITAL ART." Humanities science current issues 1, no. 84 (2025): 93–98. https://doi.org/10.24919/2308-4863/84-1-13.

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48

Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

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"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music

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49

Hodak, Danijela Ferjanić, Goran Belošević, and Antonio Vlahov. "Towards better understanding electronic music festivals motivation." Zagreb International Review of Economics and Business 23, no. 2 (2020): 141–54. http://dx.doi.org/10.2478/zireb-2020-0018.

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AbstractElectronic music festivals became one of the most successful forms of tourism for young adults. In the paper, authors aimed to explored the motivation and the perception of the potential visitors of electronic music festivals in Croatia and to identify the key dimensions of electronic music festivals. Instrument used for the primary research was a structured on-line questionnaire distributed among students of the University of Zagreb. In total, 350 questionnaires were collected and analyzed. Factor analyses resulted with three factors concerning motivation (music and fun, travel, socia

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50

Rovner, Anton A. "Electronic Music in St. Petersburg: An Overview. Interview with Composer Alexander Kharkovsky." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 96–109. http://dx.doi.org/10.56620/2782-3598.2022.4.096-109.

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In his interview the St. Petersburg-based composer Alexander Kharkovsky, a specialist in electronic music and an organizer of electronic music concerts, tells about his own musical compositions, and also presents the history of the formation and the development of electronic music in St. Petersburg, starting from the 1970s. He describes the musical compositions and the artistic paths of the primary pioneers of electronic music in St. Petersburg, such as Sergei Belimov and Anatoly Korolyov, recounts about the musical compositions and musical activities of younger electronic composers, such as S

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