Electroacoustic music

Electroacoustic music called New Music, the method of electronic sound production uses or was transformed electronically. The term represents a collective name of various musical conceptions, the progressive compositional development and various aesthetic differentiation as a generic term learned global spread and institutional establishment in the course. Among the musical creations include the musique concrète, the Cologne electronic music and acousmatic music.

Etymology

The term electro-acoustic music emerged in the 1950s for over loudspeakers reproduced music as opposed to instrumental or vocal music. Iannis Xenakis described in the context of his tape compositions the music first as musique electro - magnetique and preferred therefore to the specific carrier medium of the tape. Pierre Henry introduced in 1956 the term musique electro - acoustique to the discussion on the role of electronic sound transformation and instrumental musical processing to accentuate. This term was taken up again at the beginning of the 1960s of Antoine Golea and Olivier Messiaen and notes. Due to the common basis - using electronic equipment and adherence to a tape - unified the term first electronic music and musique concrète. Since the 1970s, however, it is controversial in view of the live electronics, whether it's music of any electronic sound transformation is also electro-acoustic music. On the one hand it is a music that the method of electronic sound production uses and on the other hand, it is not music that is compiled and composed in a studio and eventually leads to an audiotape on which the work is held. 1974 was introduced as a further category of electroacoustic music, the idea of ​​acousmatic.

The use of the term is sometimes synonymous instead with the concept of electronic music, which has, however, accepted in general space as a genre designation within popular music.

History

The emergence moments of electroacoustic music can be attributed to the Parisian beginnings of musique concrète in 1948 with Pierre Schaeffer, the soon Pierre Henry in 1949 joined, and the Cologne establishment of Electronic Music 1951-1953 by Herbert Eimert and Werner Meyer- Eppler, and the first studio employees Karlheinz Stockhausen and Gottfried Michael Koenig attributed. Likewise, the few out rezipierte New Yorker music for tape in its time was quite publicity. 1974 François Bayle known for the first time presented an elaborate plea for the concept of acousmatic with the constitutive Diagnostic features of exceeding the sonic indices and instrumental causes in favor of an active, interested in action and purpose of music listening. Besides Bayle as a pioneer of acousmatics in France Francis Dhomont can be considered as the main responsible for the acousmatic music in Canada. As further developments within the electroacoustic music algorithmic composition, computer music and sound synthesis are considered.

The transcription of this music is in musicological discourse still not clearly defined.

Worldwide, there are associations for the promotion and organization of this genre, such as in Germany, the German Society for Electro-Acoustic Music.

Reception

Some composers and music theorists such as André Ruschkowski use the term further and also see it as an extension to the classical definition of electronic music, in particular a " Note to the equitable use of electronic 'and' acoustic ' material as a basis for composition. " The thesis that acoustically wanted to emphasize high quality music, and thus also the reintroduction of acoustic instruments, given the prevailing since about the 1970s, performance practice, in which the mechanical musical instruments dominate over the live electronics and over previously bereitetem and recorded sound material, not to be dismissed out of hand. There is also the theory that with the name change, a change in direction should be clear away from the very radical orientation of the early electronic music. Here, especially the lack of interpreters was in this music a big hurdle for recognition as music at all what the reintroduction of traditional instrumentalists motivated strong.

The tendencies of electroacoustic music are criticized by some as a reactionary, because already completed development steps would be negated, but nothing Postgraduate will be exchanged for it. Accordingly, it is claimed that the resulting expressions with those of the new instrumental or vocal music were much the same or even fall back on earlier. Proponents argue that especially in the field of improvised music by the increased involvement of electronic instruments and sampling of new musical links and Musizierweisen had arisen that go beyond it's current composition and performance practice.

From the word meaning forth the concept is very problematic. Any music is necessary acoustically. Almost all the music - and especially popular music, from which one wishes to distinguish itself - is nowadays produced with electronic and electro-acoustic method.

Well-known composers

Live electronic music Transcription (music) Jean-Claude Risset
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