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
