Composing Electronic Music: A New Aesthetic Download Pdf WORK
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Because of the splice, electronic music has confronted in direct and unambiguous ways some of the challenges laid down by twentieth-century aesthetics. The precision implied by so-called "rhythm serialism," for example, becomes real when duration is produced by computer calculation or by measuring lengths of tape rather than by instructing performers about tempos and numbers of beats. Electronic technology has made duration an absolute in a far more precise way than serialism ever could. In the 1950s composers realized that recording technology spatializes time in a literal way: 7-1/2 inches of tape equals one second of sound. It does not matter how much or little activity that second contains, nor does it matter whether it seems to be a long or short second. Its literal duration is measurable along a spatial dimension. Thus splicing techniques not only affect continuity but also allow for the composition of absolute durations independent of the music that fills them. Even in the absence of splices, technology favors certain absolute durations. Familiar to composers of tape music is the time interval created by tape head echo-the amount of time it takes for a tape to move from the record head to the playback head of a tape recorder. This timespan is an integral part of Terry Riley's Poppy Nogood and the Phantom Band of 1970, for example.18
n performed music rhythm is largely a qualitative, or accentual, matter. Lengths of events are not the only determinants of their significance; the cultivated performer interprets the structure to find out its significance; then he stresses events he judges important. Thus, for good or ill, every performance involves qualitative additions to what the composer has specified; and all composers, aware or unaware, assume these inflections as a resource for making their works sound coherent. But in a purely electronic work like Time's Encomium, these resources are absent. What could take their place? In my view, only the precise temporal control that, perhaps beyond anything else, characterizes the electronic medium. By composing with a view to the proportions among absolute lengths of events-be they small (note-to-note distances) or large (overall form)-rather than to their relative "weights," one's attitude toward the meaning of musical events alters and (I believe) begins to conform to the basic nature of a medium in which sound is always reproduced, never performed. This is what I mean by the "absolute, not the seeming, length of events"!20
Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music (1907).[11][12] Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises (1913).[13][14]
Keyboard synthesizers became so common that even heavy metal rock bands, a genre often regarded as the opposite in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983 Jump[161] by Van Halen and 1986 The Final Countdown[162] by Europe, which feature synths prominently. 2b1af7f3a8