A subset of the Classical Music Composers database, this list focuses on composers who have composed electronic music. That is music created by or modified by electronic devices. To hear that music an electronic device is required.
Music in which electronic technology, now primarily computer-based, is used to access, generate, explore and configure sound materials, and in which loudspeakers are the prime medium of transmission.
Is there more to music than melody and sound? Continuing our series on 'difficult' art forms, Simon Hattenstone delves into the works of Stockhausen in a bid to understand electronic music - and loses his balance, his appetite and almost his mind.
Contents: 1) Sinusoids, amplitude and frequency; 2) Wavetables and samplers; 3) Audio and control computations; 4) Automation and voice management; 5) Modulation; 6) Designer spectra; 7) Time shifts and delays; 8) Filters; 9) Fourier analysis and resynthesis; 10) Classical waveforms; Index & Bibliography
Musical performance in a cultural context has always been inextricably linked to the human body, yet, the body has played only a minor role in the creation and performance of electronic music. We find physicality, feedback, and gesture—the reintegration of the body in electronic music—are all key to maintaining and extending musical/social traditions within a technological context.
Background at https://www.fondation-langlois.org/html/e/page.php?NumPage=267 and http://www.experimentaltvcenter.org/programs-electronic-music-foundation
The first American electronic collaborative academic effort focusing on electronic music, experimenting with electronic instruments and encouraging other artists to do the same.
1970: Clockwise from the center front, Vladimir Ussachevsky (seated),
Milton Babbitt, Bülent Arel, Pril Smiley, Mario Davidovsky, Alice
Shields, Otto Luening.
