1. Background

At the EMS conference in 2007 in Leicester I described the approach I had taken to making an analysis of Jonathan Harvey’s work Mortuos Plango, Vivos Voco (1980).  The analysis had appeared in the book Analytical Methods of Electroacoustic Music (Clarke 2006).  In particular I explained my concern about relying exclusively on the printed page in analyses of electroacoustic music: be that in the form of text, diagrams or printed sonograms etc.  

Text-Sound Composition remains after more than forty years one of the highlights of Swedish electroacoustic music. The name denotes an artistic phenomenon which arose in the open environment of the 1960s at Fylkingen in Stockholm as an expression of interests in multi-disciplinary art at the nexus of text, music and technology.

Abstract

Electroacoustic music has inherited a tradition of collaboration. Technological advances in telecommunications have led to the first tools which became the genesis of electronic music. Collaboration with areas that apparently have no direct relations with the traditional conception of music has been a common place for electroacoustic music. Intrinsically, this heritage is pushing composers and developers to follow this tradition of collaboration with non-musical related areas of knowledge.  Moreover, everything points to the fact that this is just the beginning, and this trend will expand to unimagined levels in the coming years. This presentation proposes three critical aspects that will play an important role in the future of electroacoustic music: Online Compositional Tools, Synectic Strategies and Free Trade of Knowledge.

This research presents some of the mix electroacoustic concert works of Venezuela at its highest expression, from the 70´s to this day, seen through the analysis of the relationship between instrumental sections and their electronic resources.

This paper will address the notion of temporal convergence as one of the various levels of interaction between the acoustic instrument and the pre-recorded electronic material in mixed electro-acoustic works. The ideas developed here stem from my experience as a performer and are based on Denis Smalley’s concepts of interactive behaviour in acousmatic music as proposed in Spectromorphology: explaining sound-shapes (Smalley, 1997). A series of terminologies and classifications have emerged from the observation of different temporal convergences acting in a mixed electro-acoustic framework. Horizontal andvertical temporal convergences are presented as organizational forces in musical discourse that deserve consideration in the processes of composition and interpretation of mixed works. The systematic application of this approach in an interpretive context aims to contribute to the consolidation of a performance tradition of this repertoire. Additionally, it intends to offer new perspectives into the collaborative interactions between performers and composers. The musical examples mentioned here are available at www.iracemadeandrade.com

Martín Parselis: Ingeniero Electrónico y MBA. Realiza tareas de investigación principalmente en e-learning, Web 2.0, ciencias de los servicios y cuestiones relacionadas con los artefactos y el desarrollo tecnológico. Es profesor con Dedicación Especial en la Universidad Católica, y consultor y manager en emprendimientos privados. Es además autor de www.blog2.com.ar

Web Art is an emerging, polymorphous phenomenon. I choose and prefer the term  “web art” over that of “net art”, which can be confused with other forms of network art that do not use the web (mail art, faxes, etc.). We don’t have yet the historical distance needed to classify, judge and categorize these works. Neither do we have an overall idea of the corpus involved. Art History, therefore, documents this phenomenon alongside its very development.