Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
In what form can ‘live electronic music’ live on?
View through CrossRef
In 1991 I wrote a short article comparing three ‘live electronic’ ensembles based in the UK and active in the late 1960s and 1970s (one into the 1980s) (Emmerson 1991). It was only in the final stages of preparation of this paper for presentation at the EMS05 conference in Montreal that I realised that the death of Hugh Davies on 1 January 2005 meant that a key member of each of the three ensembles was no longer with us. This article is thus dedicated to Barry Anderson (1935–1987, founder and director of the West Square Electronic Music Ensemble), Tim Souster (1943–1994, co-founder of Intermodulation) and Hugh Davies (1943–2005, founder member of Gentle Fire). The fact that they can no longer describe, elucidate and explain the repertoire that they created is directly pertinent to this paper. While its practitioners must inevitably (though hopefully not so prematurely) move on, as we celebrate Mozart's 250th birthday with performances of the vast majority of his compositions, we must ask ‘in what form live electronic music can live on’
Title: In what form can ‘live electronic music’ live on?
Description:
In 1991 I wrote a short article comparing three ‘live electronic’ ensembles based in the UK and active in the late 1960s and 1970s (one into the 1980s) (Emmerson 1991).
It was only in the final stages of preparation of this paper for presentation at the EMS05 conference in Montreal that I realised that the death of Hugh Davies on 1 January 2005 meant that a key member of each of the three ensembles was no longer with us.
This article is thus dedicated to Barry Anderson (1935–1987, founder and director of the West Square Electronic Music Ensemble), Tim Souster (1943–1994, co-founder of Intermodulation) and Hugh Davies (1943–2005, founder member of Gentle Fire).
The fact that they can no longer describe, elucidate and explain the repertoire that they created is directly pertinent to this paper.
While its practitioners must inevitably (though hopefully not so prematurely) move on, as we celebrate Mozart's 250th birthday with performances of the vast majority of his compositions, we must ask ‘in what form live electronic music can live on’.
Related Results
Retuning music teaching: Online music tutorials preferences as predictors of amateur musicians’ music self-efficacy in informal music learning
Retuning music teaching: Online music tutorials preferences as predictors of amateur musicians’ music self-efficacy in informal music learning
Music self-efficacy has been acknowledged as a strong predictor of successful performance among musicians and music students, but is less researched among amateur musicians. The pu...
The gendered carnival of pop
The gendered carnival of pop
One of the ironies of popular music studies is that the music that is the most popular, in terms of contemporary chart success, is rarely discussed by academics writing in the fiel...
Pop and world music in Dutch music education: two cases of authentic learning in music teacher education and secondary music education
Pop and world music in Dutch music education: two cases of authentic learning in music teacher education and secondary music education
Popular and world music play an important role in Dutch music education. This article examines two case studies that illustrate authentic music learning environments in which these...
Music and communication in music psychology
Music and communication in music psychology
There is a general consensus that music is both universal and communicative, and musical dialogue is a key element in much music-therapeutic practice. However, the idea that music ...
Tempo in Baroque Music and Dance
Tempo in Baroque Music and Dance
Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting met...
Rave Racing
Rave Racing
In the origin story of futuristic racing game WipEout (Psygnosis, 1995), co-creator Nick Burcombe talks about turning down the game audio in Super Mario Kart (Nintendo, 1992) and s...
Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education
Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education
The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into...
Music therapy for people with chronic pain: facilitators and barriers.
Music therapy for people with chronic pain: facilitators and barriers.
The aim of this study was to investigate the perceptions of music therapy among those living with chronic pain, and the possible facilitators and barriers to music therapy if offer...