Forging Better Practices for Electro-Acoustic Music
Forging Better Practices for Electro-Acoustic Music
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211152740
- ISBN
- 9798383186053
- DDC
- 780
- 저자명
- Ottmer, Jacob A.
- 서명/저자
- Forging Better Practices for Electro-Acoustic Music
- 발행사항
- [Sl] : University of Cincinnati, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 89 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-01, Section: B.
- 주기사항
- Advisor: Culley, James;Burge, Russell.
- 학위논문주기
- Thesis (D.M.A.)--University of Cincinnati, 2024.
- 초록/해제
- 요약Electronic music has a rich history dating back farther than just the 1950's. Edgard Varese is often credited with the establishment of musique concrete, though that behemoth was taking shape well before his time. After some decades of composers creating pieces using analog sound systems and synthesizers, we have reached a breaking point in performing their works. Quite often the technology has become decrepit and dysfunctional, if one can procure it at all. A method of performing these works in a manner faithful to the composer's original intent does still exist-and that is through digital signal processors like Max, developed by Cycling '74. However, even with today's practices in Max and similar programs being robust and intuitive, problems in performance still arise that can be avoided altogether by a composer or programmer with the foresight to anticipate them. This document will provide performers and composers alike the necessary tools to navigate this music and improve future music in the electro-acoustic genre. The primary function of this document is to provide a brief historical background of both this analog heritage and digital uprising, a foundational knowledge of rudimentary hardware related to these, and a broad span of case studies related to pieces in both categories and in-between which leads into a discussion of better practices on the part of a composer-programmer.
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 일반주제명
- Acoustics
- 일반주제명
- Musical performances
- 키워드
- Electronic music
- 키워드
- Live electronics
- 키워드
- Performers
- 기타저자
- University of Cincinnati College-Conservatory of Music: Percussion
- 기본자료저록
- Dissertations Abstracts International. 86-01B.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008250123s2024 us c eng d■001000017163685
■00520250211152740
■006m o d
■007cr#unu||||||||
■020 ▼a9798383186053
■035 ▼a(MiAaPQ)AAI31508113
■035 ▼a(MiAaPQ)OhioLINKucin1712914218224523
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aOttmer, Jacob A.
■24510▼aForging Better Practices for Electro-Acoustic Music
■260 ▼a[Sl]▼bUniversity of Cincinnati▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a89 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-01, Section: B.
■500 ▼aAdvisor: Culley, James;Burge, Russell.
■5021 ▼aThesis (D.M.A.)--University of Cincinnati, 2024.
■520 ▼aElectronic music has a rich history dating back farther than just the 1950's. Edgard Varese is often credited with the establishment of musique concrete, though that behemoth was taking shape well before his time. After some decades of composers creating pieces using analog sound systems and synthesizers, we have reached a breaking point in performing their works. Quite often the technology has become decrepit and dysfunctional, if one can procure it at all. A method of performing these works in a manner faithful to the composer's original intent does still exist-and that is through digital signal processors like Max, developed by Cycling '74. However, even with today's practices in Max and similar programs being robust and intuitive, problems in performance still arise that can be avoided altogether by a composer or programmer with the foresight to anticipate them. This document will provide performers and composers alike the necessary tools to navigate this music and improve future music in the electro-acoustic genre. The primary function of this document is to provide a brief historical background of both this analog heritage and digital uprising, a foundational knowledge of rudimentary hardware related to these, and a broad span of case studies related to pieces in both categories and in-between which leads into a discussion of better practices on the part of a composer-programmer.
■590 ▼aSchool code: 0045.
■650 4▼aMusic
■650 4▼aMusical composition
■650 4▼aAcoustics
■650 4▼aMusical performances
■653 ▼aElectro-acoustic music
■653 ▼aElectronic music
■653 ▼aLive electronics
■653 ▼aComposer-programmer
■653 ▼aPerformers
■690 ▼a0413
■690 ▼a0214
■690 ▼a0943
■690 ▼a0986
■71020▼aUniversity of Cincinnati▼bCollege-Conservatory of Music: Percussion.
■7730 ▼tDissertations Abstracts International▼g86-01B.
■790 ▼a0045
■791 ▼aD.M.A.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17163685▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
