松浦 知也 Matsuura Tomoya
0a8f324310
3.4 KiB
| cssclass | type | author | title | publication | date | citekey | tags | ||
|---|---|---|---|---|---|---|---|---|---|
| research-note | journalArticle | Adkins, Monty; Scott, Richard; Tremblay, Pierre Alexandre | Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage | Organised Sound | 2016-08-01 | adkins2016 |
|
[!Cite] Adkins, Monty, Richard ScottとPierre Alexandre Tremblay. 2016. 「Post-Acousmatic Practice: Re-Evaluating Schaeffer’s Heritage」. Organised Sound 21 (2): 106–16. https://doi.org/10.1017/S1355771816000030.
[!Synth] Contribution::
Related::
[!md] FirstAuthor:: Adkins, Monty
Author:: Scott, Richard
Author:: Tremblay, Pierre Alexandre
~
Title:: Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage
Year:: 2016
Citekey:: adkins2016
itemType:: journalArticle
Journal:: Organised Sound
Volume:: 21
Issue:: 2
Pages:: 106-116
DOI:: 10.1017/S1355771816000030
[!LINK]
Adkins et al. - 2016 - Post-Acousmatic Practice Re-evaluating Schaeffer’.pdf.
[!Abstract]
This article posits the notion of the post-acousmatic. It considers the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. It will outline the authors’ definition of the term and also outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors’ consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking. .
Notes
ポストアクースマティックの概念を述べた論文。結局統一的な定義とか無理だよねって感じで拡散したまま議論が終わるので結局post-acousmaticの旗印がなんの役に立つのかいまいちピンとこない、、、
The rich possibilities of acousmatic performance today rest in part on changes in technology. The technological tools which were once hidden away under lock and key in the institutional Computer Music Studio are now ubiquitous, and they are portable. Any desktop or laptop computer, and increasingly phones, tablets and other devices, can now be used to make acousmatic music or any other kinds of electronic music.
これかなり欺瞞ですよね（ポータブルになったコンピューターの向こう側が結局ブラックボックスになっただけなので）
What initially started as different genres of music utilising the same tools for different ends has resulted in a gradual osmotic transference over the past decades in studio-based genres of influences, tools, methods and writing techniques that have facilitated a more sophisticated dialogue between each of them rather than a shallow reciprocal plundering.
これも
Annotations%% begin annotations %%
%% end annotations %%
%% Import Date: 2025-01-21T18:33:52.064+09:00 %%