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Cambridge University Press 978-1-107-13355-6 — the Cambridge Companion to Electronic Music Edited by Nick Collins , Julio D'escrivan Index More Information 317 Cambridge University Press 978-1-107-13355-6 — The Cambridge Companion to Electronic Music Edited by Nick Collins , Julio d'Escrivan Index More Information 317 I n d e x 1, 2, 1- 2- 3- 4 , 47 electronic and acoustic compared, 202 1- Bit Symphony , 248 and game music, 166 , 167 2001 A Space Odyssey , 193 and global connection, 32 242.pilots, 131 – 2 information aesthetics, 145 4’33 (Cage), 227 and live electronics, 178 , 262 – 4 , 265 – 7 , 270 , 8- bit music, 81 , 173 – 4 , 248 271 – 2 and microsound, 216 – 17 Aarset, Eivind, 270 – 1 modes of listening, 203 – 4 Abandoned Lake in Maine , 287 and music for i lm, 163 ‘Abstract Cinema - Chromatic Music’, 125 and networks, 148 abstract i lmmaking, visual music, 125 – 6 and sot ware tools, 76 academic electronic music, 32 – 3 , 294 and sound art, 220 – 2 , 225 – 6 , 228 , 230 – 1 , acousmatic musi c . see also Tape Music 236 – 7 challenges to, 31 – 2 , 297 – 8 and spatial elements, 211 , 213 – 15 language and voice use, 208 – 9 and studio development, 27 listener interface, 37 and synaesthetic art, 134 – 5 musique concrète, 27 , 141 , 155 , 157 , 202 , and technology, 27 – 9 , 32 , 76 , 201 , 298 203 – 5 and transmission, 141 , 146 use of noise, 209 – 11 a f ective approach to analysis, 287 origin, 9 – 10 , 203 Africa, as inspiration, 176 soundscapes, 163 , 174 – 5 , 218 – 19 At ershock , 285 spatial aspects, 211 – 15 AI hoaxes, 10 – 11 streaming ef ects, 207 – 8 aleatoric principles, 114 – 15 Acousmonium, 212 Alexander, Amy, 133 acoustic ecology, 174 – 5 , 285 , see also algorithmic compositio n , see also sound soundscapes synthesis acoustic i lm music, 163 and aesthetics, 104 , 145 acoustic instruments with electronics, 258 chance, 116 – 18 current trends, 269 – 71 and conversation rules, 146 – 7 development, 96 , 259 – 64 development through serialism, 110 – 12 dif erences from traditional performance, 87 early computers, 60 – 1 sampling, 267 – 9 EIS system, 79 spectral processing, 264 – 7 future developments, 167 Acoustica (Behrman), 181 generative music, 118 – 19 , 166 , 167 Acustica (Kagel), 241 historical perspective, 49 , 104 , Adams, John, 27 , 268 – 9 106 – 9 , 275 adaptive music, 166 human/ electronic synchronisation, 67 additive synthesis, 186 – 7 live coding, 151 – 2 adempercloep, 252 , 253f. 13.3 M.T.Brain, 182 – 3 Adrien, Jean- Marie, 196 and network music, 144 , 145 Aeolian Harp , 275 pre- computer era, 19 , 49 Aeriology , 236 realtime composition, 119 – 21 aestheticism sound art, 236 – 7 acousmatic composition stochastic music, 112 – 14 development, 212 video games, 166 in acoustic electronics, 263 , 270 Algorithmic Revolution, 105 and algorithmic composition, 104 , 145 Algorithmic Stream, h e, 119 in audiovisual music, 134 – 5 algorithms, 104 , 105 and DIY music, 239 , 243 , 255 – 6 Alpha Bean Lima Brain , 141 [317] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13355-6 — The Cambridge Companion to Electronic Music Edited by Nick Collins , Julio d'Escrivan Index More Information 318 318 Index alternative controllers, 95 a u t o m a t a Alva Noto, 82 – 3 , 269 , see also Noto electronic music origins, 10 – 11 amateur radio, inl uences, 239 – 40 in literature, 11 – 12 ambient music, 118 – 19 ‘Automata’ (Hof mann), 11 – 12 Analogue B , 216 analogue performance, 53 , 54f. 3.1 , 88 Baba Zula, 177 analogue studio modules, 119 – 20 Babbage, Charles, 12 analogue synthesisers Bach, J.S. Goldberg Variations , 106 Behrman synthesiser, 44 Bacon, Francis, on sound- houses, 7 – 8 , 33 Cracklebox, 49 – 50 , 247 Bailey, Christopher, 37 development, 59 – 60 Ballet mécanique , 18 Hammond electric organ, 41 , 87 Balzac, Honoré de, ’Gambara’, 12 interactive programs, 88 – 9 , 90 band pass i lters, 285 live audiovisuals, 129 Barrett, Natasha, 285 Moog synthesiser, 45 , 88 , 89 Barron, Louis and Bebe, 158 – 9 , 163 other early machines, 18 , 41 Bates, Martin, 269 Parker’s steam- powered, 55 Bayle, François, 208 , 212 for sampling, 295 Bed of Nails, 247 h eremins, 18 , 20 , 40 – 1 , 42 , 94 , 154 , 157 – 8 Begin Again Again , 263 video synths, 129 Behrman, David, 44 , 88 , 180 – 1 analogue- to- digital interfaces, 95 – 6 Beige collective, 55 analysis of music, see electronic music analysis Bell Labs, 62 , 63 , 185 – 7 , 188 , 193 , 261 , 279 Analytical Engine, 12 , 59 Bell, Alexander Graham, 30 Anderton, Craig, 241 Bellamy, Edward, 13 Anecdotiques, Les , 208 Benjamin, Walter, 14 Angel of Death, h e , 260 Berg, Paul, 32 , 36 Angels & Devils , 213 Berio, Luciano, 241 , 259 Antheil, George, 18 Berliner, Emile, 14 – 15 Any Resemblance is Purely Coincidental , 193 Beverly Hills Cop, 161 Apocalypse Now, 160 Bhakti , 266 Archer, Phil, 53 – 4 Bicrophonic Research Institute, 233 Arduino platform, 248 B i s c h o f , John, 91 Arel, Bülent, 78 – 9 Blechdom, Kevin, 181 – 3 Argon , 213 , 217 Blectum from Blechdom, 181 Aronofsky, Darren, 161 Borrowing and Stealing , 151 ARP 2500, 292 boss , 151 Ars Magna , 107 BoSSa, 97 art music, 183 , 201 – 2 , see also Boulez, Pierre, 111 – 12 , 221 , 259 electroacoustic music Bowers, John, 250 – 1 Art of the Gremlin , 243 brain a r t w o r l d , see also sound art ; and audiovisual music, 135 sound installations synaesthesia, 134 use of electronic sound, 16 – 18 brain research, response to music, 85 place of sound art, 227 – 8 Brand, Jens, 53 Arte dei rumori, L’, 17 – 18 Breadboard Band, 252 Artemiev, Eduard, 159 – 60 broadcasting, see also network music a r t i i cial intelligence hoaxes, 10 – 11 radio art, 42 , 141 , 211 , 235 , 249 Ashley, Robert, 44 – 5 transmission art, 138 – 40 , 235 – 7 associative learnt synaesthesia, 134 TV music, 161 – 4 Atkins, Juan, 170 Bryars, Gavin, 47 Attali, Jacques, 35 Bubblyi sh, 165 , 173 – 4 audience, interactive listening, 36 – 7 B u f et, Gabrielle, 16 audii cation, 284 – 5 Burkina Electric, 175 – 6 audio rate in sound synthesis, 65 Burt, Warren, 83 – 4 AudioBox, 28 Burtt, Ben, 157 , 160 – 1 audiovisual union groups, 132 – 3 Busoni, Ferruccio, 16 Auracle , 150 Byron, Ada. see Lovelace, Ada King, Autechre, 67 Countess of © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13355-6 — The Cambridge Companion to Electronic Music Edited by Nick Collins , Julio d'Escrivan Index More Information 319 319 Index Cadoz, Claude, 197 compact disc manipulation, 52 Cage, John, 41 – 3 Composers Inside Electronics, 48 ‘Credo’ lecture, 19 – 20 , 42 , 156 composition use of algorithms, 116 – 18 aesthetic dif erences, 27 – 8 inl uence, 43 – 4 e f ect of home studios, 28 , 29 , 121 live electronic music, 37 , 41 – 3 , 202 , 211 , 259 impact of technology, 29 , 31 – 3 , 50 – 1 , 77 , objects music, 242 275 – 6 , 295 – 6 and sound art, 227 computer as musical instrument, 89 – 91 , 101 , works, 37 , 42 – 3 , 109 , 117 , 158 , 211 , 227 , 241 , see also digital instruments ; laptop music 259 , 268 – 9 performance ; live computer music Cahill, h addeus, 14 , 16 , 40 Computer Audio Research Laboratory, CARL Calix, Mira, 81 system, 63 – 4 canons, 106 Computer Suite from Little Boy, 187 , 279 car horn organ, 229 computermusik I - exploded view, 244 Cardif , Janet, 232 – 3 , 235 conceptualist art, 145 CARL System, 63 – 4 Concret PH , 218 Caro, Marc, 163 Coni eld , 67 Carter, Chris, 294 – 5 constructivist art, 145 Cartridge Music, 42 – 3 contemporary audiovisual performance, 130 – 3 Castel, Louis Bertrand, 124 – 5 control rate in sound synthesis, 65 casual listening, 204 controllers (live computer music), 93 – 7 , 99 – 100 causation in networked music, 148 , 149 – 50 conversational art, 146 CD manipulation, 52 Cook, Perry, 150 Cello With Melody Driven Electronics, 44 Cordis- Anima sot ware, 197 Center for Music and Sonic Art (Mexico), 30 Cornford, Stephen, 244 Chadabe, Joel, 89 – 90 , 92 Corra, Bruno, 125 Chafe, Chris, 152 , 196 Cosey Fanni Tutti, 294 – 5 chess competitions, and AI, 11 Cracklebox, 49 – 50 , 247 Chion, Michel, 156 , 204 Craighead, Alison, 150 – 1 chiptone (8- bit) music, 81 , 173 – 4 , 248 crossmodal information transfer, 134 Chorosynth, 240 crossmodal performance, see live audiovisuals Chowning, John, 36 , 62 , 187 Crystal Age, A , 13 Chris & Cosey, 294 – 5 Csound, 65 , 66 ChucK, 72 , 144 custom music programming sot ware, 72 – 3 , cinema, see i lm music ; live cinema 75 – 6 , 80 circuit bending, 53 – 4 Cyber- Jam, 178 – 9 circuit design cybernetic aesthetics, 145 , 146 early analogue circuits, 44 , 48 , 88 Cybersonic approach, 88 integrated circuits, 48 – 9 , 247 CyberSpaceLand , 133 in live performance, 44 , 47 – 50 , 251 – 2 Cybork, 178 – 9 Clarke, Vince, 295 – 6 Cylob Music System, 80 classical music, ef ect of technology, 18 , 77 , 84 , 269 – 70 Dada movement, 17 , 18 classicism, in music, 179 – 80 Dancers on a Plane, 267 – 8 classii cation of repertoire, 276 Darmstadt serialism, 110 – 11 claveçin électrique, 10 Darmstadt summer course, inl uence, 109 – 12 CLM (Common Lisp Music), 65 data gloves, 95 – 6 club VJs, see VJing Datatron computer songs, 60 – 1 Cmix, 64 – 5 Davies, Hugh, 244 Co- Audicle , 150 Day the Earth Stood Still, h e , 154 , 158 , 159 cognitive- af ective analysis, 287 Dazzleships , 81 Collins, Nicolas, 51 , 98 , 242 , 247 , 249 – 50 de Caus, Salomon, 8 colour organs, 124 – 6 De Magnete, Magneticisque Corporibus, et de Columbia Computer Music Center, 35 Magno Magnete Tellure, 8 – 9 Columbia- Princeton Electronic Music De Marinis, Paul, 49 , 140 Center, 35 Death of Klinghof er, h e , 268 – 9 Come Out , 46 , 207 Deep Blue (computer), 11 commercials, music for, 162 , 163 Deep Listening music project, 46 ,
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