Electroacoustic music

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Electroacoustic music describes new music that uses methods of electronic sound production or has been electronically transformed. The term represents a collective term of various musical conceptions, which in the course of a progressive compositional development and different aesthetic differentiation as a generic term experienced global distribution and institutional establishment. The musical conceptions include musique concrète , Cologne electronic music and acousmatic music .

etymology

Iannis Xenakis in 1970

The term electroacoustic music originated in the 1950s for music played over loudspeakers as opposed to instrumental or vocal music . In the context of his tape compositions, Iannis Xenakis initially referred to the music as musique electro-magnetique and thus preferred the specific carrier medium of the tape.

Pierre Henry in 2008

In 1956, Pierre Henry put the term musique electro-acoustique up for discussion in order to accentuate the role of electronic sound transformation and musical processing. This term was taken up again at the beginning of the 1960s by Antoine Golea and Olivier Messiaen . Due to the common basis - the use of electronic equipment and the recording on a tape - the term initially united electronic music and musique concrète . With regard to live electronics, however, it has been controversial since the 1970s whether music of any electronic sound transformation is also electroacoustic music. On the one hand, it is music that uses the processes of electronic sound production, and on the other hand, it is no longer music that is put together and composed in a studio and ultimately leads to a tape on which the work is recorded. In 1974, as a further category of electroacoustic music, the idea of Akusmatik introduced.

The term is sometimes used synonymously with the term electronic music , which, however , has established itself in common parlance as a genre designation within popular music .

history

Karlheinz Stockhausen in 1980

The origins of electroacoustic music can be traced back to the Parisian beginnings of musique concrète in 1948 with Pierre Schaeffer , who was soon joined by Pierre Henry in 1949, and to the establishment of electronic music in Cologne between 1951 and 1953 with Herbert Eimert and Werner Meyer-Eppler as well as the the first studio employees Karlheinz Stockhausen and Gottfried Michael Koenig . The New York music for tape , which has now hardly been received, also found publicity at the time. In 1974 François Bayle presented for the first time an elaborate plea for the concept of acousmatics with the constitutive determinants of exceeding the tonal indices and instrumental causes in favor of an active listening interested in the effect and meaning of music. In addition to Bayle as a pioneer of acousmatics in France , Francis Dhomont can be seen as the main person responsible for acousmatics in Canada. Algorithmic composition and computer music are viewed as further developments within electroacoustic music .

The transcription of this music is still not clearly defined in the musicological discourse. The treatise Extended notation by Christian Dimpker, published in 2013, represents a comprehensive attempt at the notation of electroacoustic music .

There are associations around the world to promote and organize this genre, such as the German Society for Electroacoustic Music in Germany . The International Documentation of Electroacoustic Music contains comprehensive information on works, authors, media, labels and studios.

reception

Some composers and music theorists such as André Ruschkowski continue to use the term and see it as an extension of the classical definition of electronic music, in particular a "reference to the equal use of 'electronic' and 'acoustic' material as a basis for composition." The thesis that one is acoustic Wanted to emphasize high-quality music and the associated reintroduction of acoustic instruments cannot be dismissed out of hand in view of the performance practice that has prevailed since the 1970s, in which mechanical musical instruments dominate over live electronics and over previously prepared and recorded sound material . There is also the thesis that the name change should indicate a change of direction away from the very radical orientation of early electronic music . The lack of an interpreter in this music was a major hurdle for recognition as music in general, which strongly motivated the reintroduction of the traditional instrumentalists.

The tendencies of electroacoustic music are criticized by some as reactionary, because already completed development steps are negated, but nothing further is exchanged for it. Accordingly, it is claimed that the resulting forms of expression are essentially identical to those of the new instrumental or vocal music or even fall back on earlier ones. Proponents object that, particularly in the field of improvisation music, the increased use of electronic instruments and sampling has created new musical connections and ways of making music that go beyond the previous practice of composition and interpretation.

In terms of the meaning of the word, the term is very problematic. All music is necessarily acoustic. Almost all music - and especially the popular music that you want to distinguish yourself from - is produced nowadays using electronic and electroacoustic processes.

Well-known composers

literature

  • Christoph von Blumröder : Musique concrète - electronic music - acousmatics. Concepts of electroacoustic music . In: Tobias Hünermann, Christoph von Blumröder (Ed.): Topographies of the history of composition since 1950 = signals from Cologne. Contributions to the music of the time, volume 16. Verlag Der Apfel, Vienna 2011.
  • ders .: The electroacoustic music. A compositional revolution and its consequences = signals from Cologne. Contributions to the music of the time, Volume 22. Verlag Der Apfel, Vienna 2017, ISBN 978-3-85450-422-1 .
  • Thomas Dézsy , Stefan Jena, Dieter Torkewitz (eds.): Between experiment and commerce. On the aesthetics of electronic music . Mille Tre, Vienna 2007, ISBN 978-3-900198-14-5 .
  • Marcus Erbe: Writing sounds: The problem of transcription in electroacoustic music = signals from Cologne. Contributions to the music of the time, Volume 15. Verlag Der Apfel, Vienna 2009.
  • Hans Ulrich Humpert , Herbert Eimert : Lexicon of electronic music . Bosse, Regensburg 1973, ISBN 3-7649-2083-1 .
  • Werner Jauk : Electroacoustic and electronic music. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 1, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2002, ISBN 3-7001-3043-0 .
  • André Ruschkowski: Electronic sounds and musical discoveries . Reclam, Ditzingen 1998, ISBN 978-3-15-009663-5 .
  • Bruno Spoerri (Ed.) In collaboration with the ICST (Institute for Computer Music and Sound Technology Zurich): Music out of nowhere. The history of electroacoustic music in Switzerland . Chronos Verlag, Zurich, ISBN 978-3-0340-1038-2 .
  • Martin Supper: Electroacoustic Music & Computer Music . Wolke Verlag, Hofheim 1997, ISBN 978-3-923997-77-0 .
  • Elena Ungeheuer (Ed.): Electroacoustic Music . Handbook of Music in the 20th Century 5. Laaber-Verlag, Laaber 2002, ISBN 978-3-89007-425-2 .

Web links

Individual evidence

  1. ↑ Christoph von Blumröder: Musique concrète - Electronic Music - Akusmatik. Concepts of electroacoustic music . In: Tobias Hünermann, Christoph von Blumröder (Ed.): Topographies of the history of composition since 1950 = signals from Cologne. Contributions to the music of the time, volume 16. Verlag Der Apfel, Vienna 2011, p. 198ff.
  2. ↑ a b Christoph von Blumröder, p. 199
  3. ^ François Bayle: The acousmatic music or the art of projected sounds . In: Composition and Musicology in Dialogue IV (2000–2003). François Bayle. Sound images. Technique of my hearing . Bilingual edition French and German. = Imke Misch, Christoph von Blumröder (Ed.): Signals from Cologne. Contributions to the Music of the Time, Volume 8. Second, corrected and expanded edition. LIT Verlag, Berlin 2007, p. 153.
  4. ↑ a b Christoph von Blumröder, p. 196
  5. ↑ Marcus Erbe: Writing sounds: The problem of transcription of electroacoustic music = signals from Cologne. Contributions to the Music of Time, Volume 15. Der Apfel, Vienna 2009.
  6. ^ Christian Dimpker: Extended notation. The depiction of the unconventional. LIT Verlag, Vienna / Zurich / Berlin / Münster 2013, ISBN 978-3-643-90302-0 , p. 210-326 .