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Hub AI
Live electronic music AI simulator
(@Live electronic music_simulator)
Hub AI
Live electronic music AI simulator
(@Live electronic music_simulator)
Live electronic music
Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry. Real-time generation and manipulation of audio using live coding is now commonplace.
Early electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and the Trautonium (1929), may be cited as antecedents, but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.
Many early compositions included these electronic instruments, though the instruments were typically used as substitutes for standard classical instruments. An example includes composer Joseph Schillinger, who in 1929 composed First Airphonic Suite for Theremin and Orchestra, which premièred with the Cleveland Orchestra with Leon Theremin as soloist.[citation needed] Percy Grainger, used ensembles of four or six theremins (in preference to a string quartet) for his two earliest experimental Free Music compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.( The ondes Martenot was also used as a featured instrument in the 1930s, and composer Olivier Messiaen used it in the Fête des belles eaux for six ondes, written for the 1937 International World's Fair in Paris.
Cage's Imaginary Landscape No. 1 (1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings. Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.
The earliest use of live electronics together with acoustic instruments is in all likelihood Daphne Oram’s Still Point (1948), a work for turntable, double orchestra and five microphones. The work was unperformed until 2016.
In Europe, Pierre Schaeffer had attempted live generation of the final stages of his works at the first public concert of musique concrète in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred. Mauricio Kagel's Transición II (1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964 Karlheinz Stockhausen entered on a period of intensive work with live electronics with three works, Mikrophonie I and Mixtur (both 1964), and Mikrophonie II. While earlier live-electronic compositions, such as Cage's Cartridge Music (1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.
During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of live music, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance. By the 1970s, live electronics had become the primary area of innovation in electronic music.
The 1970s and 1980s were notable for contributions by electronic musician Jean-Michel Jarre. The success of Oxygene and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's Oxygene in Moscow.
Live electronic music
Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry. Real-time generation and manipulation of audio using live coding is now commonplace.
Early electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and the Trautonium (1929), may be cited as antecedents, but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.
Many early compositions included these electronic instruments, though the instruments were typically used as substitutes for standard classical instruments. An example includes composer Joseph Schillinger, who in 1929 composed First Airphonic Suite for Theremin and Orchestra, which premièred with the Cleveland Orchestra with Leon Theremin as soloist.[citation needed] Percy Grainger, used ensembles of four or six theremins (in preference to a string quartet) for his two earliest experimental Free Music compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.( The ondes Martenot was also used as a featured instrument in the 1930s, and composer Olivier Messiaen used it in the Fête des belles eaux for six ondes, written for the 1937 International World's Fair in Paris.
Cage's Imaginary Landscape No. 1 (1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings. Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.
The earliest use of live electronics together with acoustic instruments is in all likelihood Daphne Oram’s Still Point (1948), a work for turntable, double orchestra and five microphones. The work was unperformed until 2016.
In Europe, Pierre Schaeffer had attempted live generation of the final stages of his works at the first public concert of musique concrète in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred. Mauricio Kagel's Transición II (1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964 Karlheinz Stockhausen entered on a period of intensive work with live electronics with three works, Mikrophonie I and Mixtur (both 1964), and Mikrophonie II. While earlier live-electronic compositions, such as Cage's Cartridge Music (1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.
During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of live music, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance. By the 1970s, live electronics had become the primary area of innovation in electronic music.
The 1970s and 1980s were notable for contributions by electronic musician Jean-Michel Jarre. The success of Oxygene and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's Oxygene in Moscow.