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Re: Articles on Live Looping as Compositional Tool
While not on looping - this might be useful as it talks about the origins of using the term instant composition instead of improvisation:http://www.icporchestra.com/
Thanx for this reference. Found it very interesting.
Ricky asked me off list for some other references more in his specific area. I am very interested in feedback from other members of this list in regards to other research and what they might be exploring and appreciate very much the exchange of references.
"I'm currently researching interactive technologies in guitar performance for PhD in N.Ireland. Can I ask if you know of any papers that deal with aesthetics of guitar performance and application of technology?"
I hope you dont mind Ricky, but i will respond on list in order to hopefully/maybe generate some responses on the topic of aesthetics and interactive technologies and perhaps illicit some refereces that i have missed. While i dont have any refrences in regards to specifically guitar peformance -although perhaps a few crediting the electric guitar as a significant electronic instrument in the line of electronic instruments from theremin to turntable and beyond- I have some references in regards to the aesthetics of computer interactive performance, which in a way could be the academic grouping that live looping would fall under especially since so many members of this list have got a lot going on in their setups other than just a looper.
Ive found the journal organised sound a rich resource for this topic
here are a few articles
The aesthetics of interactive computer music
guy E. Garnett computer music journal vol 25 no 1 (2001) pp21-33
On the process and aesthetics of sampling in electronic music production
Tara ridgers organised sound 8:(3) 3313-320
Bodily instrumentsand instrumental bodies: critical views on the relation of body and instrument in technologically informed performance environements
Franziska schroeder
contemporary music review Vol 25 no 1/2 feb/april 2006
Creative process and performance pracice of interactive computer music: a perormers tale
MarkKimura
Organised sound 8(3) 28-296
Movement and music
from traditional to hyper-instruments
Alain cresoisier
Masters in digital art
Ed 1999-2000
audio visual institute
university pompeu fabra
Barcelona, spain
*Theses on liveness*
John croft
Organised sound 12 (1) 59-662007 cambridge university press
To sing the body electric:Instruments and effort in the performance of electronic music
Julio d'Escrivan
Contemporary music review vol 25 no 1/2 feb april 2006
:Live performance interaction for humans and machines in the early twenty first century: one composers aesthetics for composition and performance pratice
Brian Belet
organised sound 8 (3) 305-312 2003
Pleasure beats; rhythm and the aesthetics of current electronic music
Ben Neill
Author(s): Ben Neill
Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), pp. 3-6
Published by: The MIT Press
This is a seminal paper on glitch music and technological failure, as is an oft occurance..
Te aesthetics of failure-Post digital tendaencies in contemporary computer music
Kim cascone
theres also a lot of controversy over the LAPTOP performer etc....
err..is that enough? yes, yes...to much reading about music instead of playing...well...that problem became fuel for the work. Mainy focusing on the gesture-sound relationship when one uses electronic instruments and computers in performance. One tends to do that when the sounds hurt
I think Live loping really puts the bodily presence firmly in electronic music making to avery intimate degree, witch places, the technique/movement/genre....as a significant integration of the body and machine. on a wider scale, this is perhaps the most important thing for a modern society to learn to deal with. machines are everywhere...deal with it or better yet...(but to bore with sociology), on a more local level....
The significance of the aesthetics of live looping (whatever that might be) are pretty inportant to locate the music in relation to the surrounding musical climate. But thats just a spur for you guys to write this thesis for me.....academics are really just DJ's in the most crudest of senses. cut and paist but just know your refrences...the creativity comes in how you tamper with the mix of it.
Thanx in advance. Have learnt so much on this list already
Byron
On Tue, Nov 11, 2008 at 11:09 PM, Stefan Smulovitz
<stefan@kenaxis.com> wrote:
Here are some of the resources I have been using in my MFA.
While not on looping - this might be useful as it talks about the origins of using the term instant composition instead of improvisation: http://www.icporchestra.com/
I've also found the articles in DJ Spooky - aka Paul Miller's new book that he edited, "Sound Unbound" very interesting. http://www.djspooky.com/articles.php Deals more with sampling than looping but there are many crossovers.
I'm using a bit of Giles Deleuze as well. His book Difference and Repetition which I find a bit harder to get through or a great article in A Thousdand Plateaus called "On the Refrain". Also using Henri Bergson's concept of intuition as a way to connect improvisation to philosophical musings. - http://en.wikipedia.org/wiki/Intuition_(Bergson)
My thesis will be focused on the more generalized concept of the relationship between improvisation and composition but hope some of these ideas are useful. Looping brings with it a stronger sense of form than open improvisation due to the nature of repetition - but the core idea that one is composing and not merely making random stuff up is the same.
Stefan
