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Wednesday, May 9, 2012
Ishkur's guide to electronic music
An amazing and comprehensive audio and visual guide to electronic music. Where it originates from, when and what it spawns... mad props to the man who built this sight. I've never come across anything as elaborate as what he's built. You must check it out:
AcidPlanet Video
Here is another study conducted on a similar topic:
You Tube
Trevor Pinch - Listening and Participating in AcidPlanet: A study of An Online Music Site
- collaboration and online gigging touched upon at 44:00min.
You Tube
Trevor Pinch - Listening and Participating in AcidPlanet: A study of An Online Music Site
- collaboration and online gigging touched upon at 44:00min.
ELECTRONIC AWAKENING TRAILER.mov
<iframe src="http://www.youtube.com/embed/sqb8B1p1wLk" allowfullscreen="" frameborder="0" height="315" width="420"></iframe>
The relationship between tempo and delay and its effect on musical performance
J. Acoust. Soc. Am. Volume 88, Issue S1, pp. S71-S71 (1990);<br />
(1 page) Bob Willey Ctr. for Music Experiment, Q‐037, Univ. of California, La Jolla, CA 92093 <br />
<br />
A study was made into the effects of delayed auditory feedback on
musical performance. Subjects heard their performance with various
lengths of delay while playing at various tempi. This allowed for an
investigation into the possible disturbing effects of delayed auditory
feedback caused by different combinations of tempo and delay.<span style="color: yellow;"> Delay was
most disturbing when its length was in a ratio with metronome beat
length between 1:2 and 1:1. “Consonant” ratios were the least
disturbing, with 2:1 and 3:1 as easy, or easier than the “fundamental”
ratio of 1:1.</span> This is in contradistinction to findings in speech
research where the greatest disruption occurred when there is
approximate equality between delay and syllable length. Research in
delayed auditory feedback with speech has been more concerned with an
absolute worst case for delay independent of rate. The results of this
study are consistent with previous research that showed<span style="color: yellow;"> the most
disturbing delay for music performance to be between 200 and 300 ms</span>. In
addition they support the hypothesis that disturbance depends on the
ratio between the lengths of delay and beat. The implications for music
performance are discussed, including the effect of pitch transformation
during computer‐mediated improvisation.<br />
<br />
<a href="http://dx.doi.org/10.1121/1.2029127">http://dx.doi.org/10.1121/1.2029127</a>
(1 page) Bob Willey Ctr. for Music Experiment, Q‐037, Univ. of California, La Jolla, CA 92093 <br />
<br />
A study was made into the effects of delayed auditory feedback on
musical performance. Subjects heard their performance with various
lengths of delay while playing at various tempi. This allowed for an
investigation into the possible disturbing effects of delayed auditory
feedback caused by different combinations of tempo and delay.<span style="color: yellow;"> Delay was
most disturbing when its length was in a ratio with metronome beat
length between 1:2 and 1:1. “Consonant” ratios were the least
disturbing, with 2:1 and 3:1 as easy, or easier than the “fundamental”
ratio of 1:1.</span> This is in contradistinction to findings in speech
research where the greatest disruption occurred when there is
approximate equality between delay and syllable length. Research in
delayed auditory feedback with speech has been more concerned with an
absolute worst case for delay independent of rate. The results of this
study are consistent with previous research that showed<span style="color: yellow;"> the most
disturbing delay for music performance to be between 200 and 300 ms</span>. In
addition they support the hypothesis that disturbance depends on the
ratio between the lengths of delay and beat. The implications for music
performance are discussed, including the effect of pitch transformation
during computer‐mediated improvisation.<br />
<br />
<a href="http://dx.doi.org/10.1121/1.2029127">http://dx.doi.org/10.1121/1.2029127</a>
Steve Reich - Music for 18 Musicians
This dosen't really relate to anything but thought it was amazing and wanted to share.<br />
Steve Reich is actually a major influence for many electronic music musicians.<br />
Such as. . .<br />
<br />
<br />
<br />
<a href="http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18">Steve Reich - Music for 18 Musicians</a>
Steve Reich is actually a major influence for many electronic music musicians.<br />
Such as. . .<br />
<br />
<br />
<br />
<a href="http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18">Steve Reich - Music for 18 Musicians</a>
DJHistory.com
Where there's a lot of digging to do. . .
Like this article:
A group of islands, the cult of Alfredo, or just an excuse for playing daft pop records? Balearious!
Twenty years ago, the word Balearic meant nothing more than a collection of islands huddled near the Mediterranean coast of northern Spain. It was the sort of place you might go to if you favoured package holidays or booked your breaks from the pages of a Thomson’s brochure. But then something strange happened. British DJs, holidaying on the island of Ibiza, discovered a DJ called Alfredo Fiorito and before we knew it, the Balearics – the location – also became a musical genre: the Balearic beat. more . . .
Like this article:
In Search of Balearic
A group of islands, the cult of Alfredo, or just an excuse for playing daft pop records? Balearious!
Twenty years ago, the word Balearic meant nothing more than a collection of islands huddled near the Mediterranean coast of northern Spain. It was the sort of place you might go to if you favoured package holidays or booked your breaks from the pages of a Thomson’s brochure. But then something strange happened. British DJs, holidaying on the island of Ibiza, discovered a DJ called Alfredo Fiorito and before we knew it, the Balearics – the location – also became a musical genre: the Balearic beat. more . . .
Simon Reynolds: Feeling wonKy: is it ketamine's turn to drive club culture? | Music | guardian.co.uk
Poor Reynolds gets ripped apart over this article... harsh.
Simon Reynolds: Feeling wonKy: is it ketamine's turn to drive club culture? | Music | guardian.co.uk
Simon Reynolds: Feeling wonKy: is it ketamine's turn to drive club culture? | Music | guardian.co.uk
Lessons from Jamaica
This is not about electronic dance music but it's related to dance, technology and copyright issues.
And it's fun!
Watch video by clicking here.
And it's fun!
Larisa Mann on Decolonizing Copyright: Jamaican Street Dances and Globally Networked Technology
- March 22, 2011 @ 2:31 pm · Berkman Luncheon Series, videoJamaican music-making practices present an interesting case study in the relationship between culture, copyright law, technology and power. In this talk Larisa Mann — a DJ, journalist, and student of Berkeley Law School’s Jurisprudence and Social Policy Program — shows how the street dance, the explosively creative heart of Jamaican musical practice, suggests several ways that technology can help or hinder people currently excluded from formal systems of power.
Watch video by clicking here.
Mouse on Mars Interview 2010
Exclusivités channel
The Wire Sessions: Mouse on Mars @ MUTEK 2010
Interviewer: Derek Walmsley, The WireCamera, Sound, Editing: Meg Hewings
Production Coordinator: Patti Schmidt
Q&A with The Wire and Mouse on Mars at MUTEK 2010 from MUTEK on Vimeo.
EuroDanceHits.com - Dance Dictionary
This is actually a pretty solid go to list for a basic description of the different EDM genres.
Taken from Website:
Welcome to Dance Dictionary. This page was created because there is no clear definition of various styles of dance music. With today's fusion of so many varied music styles, many titles that could be classified as trance-techno, techno-house, disco, deep-dub and acid house (the original and purest form of progressive house), have been lumped together in the nondescript progressive house.
Some ambiguity also existed regarding energy alternative, and hi-house could be deemed redundant in an era when, with very few exceptions, every high energy track being released featured a house mix. Even Italy, the last bastion of Hi-NRG purist fare is predominantly house influenced these days. There are however signs that Happy Italo-Disco may comeback. Check releases posted in ITALO-DISCO Page.
So what is the conclusion? Seems that any music classification is a bogus attempt to "pigeon hole" what would otherwise be loosely called "good dance music". Classifying, they purpose, could negatively influence a DJ or collector to pass by a song or style and potentially undermine the emerging melange of old and new, multi-style fusion trends. However, most DJs and collectors do have very particular tastes, and considering the overwhelming volume of new everyday releases. Listing of artist and title simply does not provide enough information.
Herein is an attempt to dispel the clouds of confusion about the styles. It is not ultimate, and your comments or own description of the styles (mentioned here or not ) on the list are VERY welcome. Let make this dictionary useful tool in the DANCEWEB.
EuroDanceHits.com - Dance Dictionary
Taken from Website:
Welcome to Dance Dictionary. This page was created because there is no clear definition of various styles of dance music. With today's fusion of so many varied music styles, many titles that could be classified as trance-techno, techno-house, disco, deep-dub and acid house (the original and purest form of progressive house), have been lumped together in the nondescript progressive house.
Some ambiguity also existed regarding energy alternative, and hi-house could be deemed redundant in an era when, with very few exceptions, every high energy track being released featured a house mix. Even Italy, the last bastion of Hi-NRG purist fare is predominantly house influenced these days. There are however signs that Happy Italo-Disco may comeback. Check releases posted in ITALO-DISCO Page.
So what is the conclusion? Seems that any music classification is a bogus attempt to "pigeon hole" what would otherwise be loosely called "good dance music". Classifying, they purpose, could negatively influence a DJ or collector to pass by a song or style and potentially undermine the emerging melange of old and new, multi-style fusion trends. However, most DJs and collectors do have very particular tastes, and considering the overwhelming volume of new everyday releases. Listing of artist and title simply does not provide enough information.
Herein is an attempt to dispel the clouds of confusion about the styles. It is not ultimate, and your comments or own description of the styles (mentioned here or not ) on the list are VERY welcome. Let make this dictionary useful tool in the DANCEWEB.
EuroDanceHits.com - Dance Dictionary
A Guide To Electronic Dance Music
So many styles, so little time
With the invention of the 1st electronic synthesizer in 1876 by Elisha Gray ( that's right, 1876!! ), nobody knew where that invention would lead to in the future. Well ladies and gents, welcome to the world of electronic dance music, where synthesizers, drum machines and sequencers rule. I personally have been a techno dj and producer since 1996 and I have released electronic techno music all over the world in different mediums such as vinyl records, Cd's and digital downloads. I have opened my mind to other genres of electronic dance music such as house, trance, IDM ( Intelligent Dance Music ) and drum & bass. There are many sub-styles of those genres also but there are to many to list but maybe I will go into those in another hub. I will try to explain in my own words the different genres of electronica and list some popular artists of that particular style.
Techno:
I have a soft spot for techno not only because its my favorite style of electronica but also because it was born in Detroit, Michigan and so was I. Known as the innovators of techno, the Belleville 4 aka Juan Atkins, Derrick May, Kevin Saunderson and Eddie Folwkes started creating techno music in the early 1980's. Little did those guys know what impact and influence the music would have in the near future. Techno music has a BPM ( Beat per minute ) of anywhere from 130 BPM to 155 BPM. If you need a reference, the 70's disco music was usually at 120 BPM. Techno is also created in a 4/4 time measurement which is 4 quarter beats in 1 measure. Techno is created by using electronic synthesizers, drum machines and sequencers or hardware. But nowadays anybody with a computer and a basic understanding of music can create any kind of electronic dance music with music creation software such as Reason or Native Instruments. Techno is usually heavy with the drums, especially the bass kick and high hats. Voice samples and snippets heavy with effects also are very popular in techno music. You might be saying to yourself, " yeah, but it so repetitive!! ". That might be the case with most techno music but you have to remember that atechno track that is being used in a dj mix like it supposed to be, then the track only plays for 2-3 minutes. If the dj knows what he or she is doing, then a techno mix can be very exciting and intense at any volume. Here are some top artists for techno music.....
- Derrick May
- Juan Atkins
- Kevin Saunderson
- Eddie Fowlkes
- Richie Hawtin
- Adam Beyer
- The Advent
- Dave Clarke
- Carl Cox
House:
House Music came out of Chicago in the early to mid 1980's and was influenced by the disco music of the 70's. The beat per minute for house is anywhere from 115 BPM to 135 BPM and has been created with real instruments such as a piano or a bass guitar. But the majority of housemusic is created using electronic hardware and of course, computer music software as I said earlier. House is also made with funky and soulful lyrics and basslines but voice samples and snippets are used from time to time to add another funky element to the music. There are also many sub-styles to house music but are too numerous to list and explain them all. Here is a list of popular artists in house music........
- Frankie Knuckles
- Jesse Saunders
- Bad Boy Bill
- Richard " Humpty " Vision
- Chip-E
- Mr Fingers
- Jamie Principle
- DJ Pierre
- Adonis
- Farley Jackmaster Funk
Trance:
Frankfurt, Germany is the place believed to be the birthplace of trancemusic in the very early 1990's. Trancemusic has a tempo of anywhere from 130 BPM to 160 BPM and is also in a 4/4 beat measure. Melodic synthesizer phrases are used quite often in trance as are numerous build ups and breakdowns of the track. Voice phrases and samples are placed throughout the music to enhance the track. Computer software and electronic hardware like synthesizers, sequencers and samplers are used in the creation oftrance. So if you like your electronica with heavy analog synth lines and rolling snare build ups, then this is the genre for you. Here are some top artists for the trance genre......
- Paul Oakenfold
- Armand Van Buuren
- Tiesto
- Paul Van Dyke
- BT
- Ferry Corsten
- George Acosta
- Lange
- Christopher Lawrence
Drum & Bass:
Also known as " Jungle " Drum & Bass emerged from the underground of the UK breakbeat scene in the early 1990's. Drum & Bass is an offshoot of many styles and genres such as reggae, electro, hip hop and funk. The BPM is pretty fast, usually at anywhere from 150 BPM to 180 BPM. It is really more for listening like the IDM ( Intelligent dance music ) genre because of the speed and chaos of the drums and beat. The early form of Drum & Bass consisted of ragga vocals with broken beats and basslines and was known as " Jungle " in the UK underground scene. Later on in the 90's, the genre's name changed to Drum & Bassbut the djs were still known as " junglists ". But in the late 1990's, Drum & Bass broke out of the underground and became more mainstream. Nowadays, you hear Drum & Bass music everywhere you go including TV, movies and the radio. Drum & Bass is created from electronic music hardware and computer music software. One thing I always loved about Drum & Bass were the amazing and intense break downs that are incorporated into the track. Sometimes a MC will sing and rap along with a Drum & Bass dj set or live performance to add that extra " oommfffff' to the music. Don't get me wrong, it is possible to dance to Drum & Bass music but I like to just stand there and listen and bob my head to the beat. Here are some top artists for the Drum & Bass genre....
- Goldie
- Aphrodite
- Ed Rush & Optical
- Konflict
- A Guy Called Gerald
- Shy FX
- Adam F
- Bad Company
- LTJ Bukem
There are sooooooo many sub-styles and genres to these styles of electronic dance music that I mentioned above but like I said.....there is to many to list and describe but i will list just a few to peak your curiosity......
Techno:
- Acid
- Ghetto
- Minimal
- Schranz
House:
- Deep
- Hard
- Acid
- Tribal
Trance:
- Goa
- Acid
- Progressive
- Uplifting
Drum & Bass
- Darkstep
- Hardstep
- Jazzstep
- Ragga Jungle
That is only just a few and maybe I will write another hub about that later on but I hope this article can help you in trying to choose and listen to a particular style or genre of electronic dance music and knowing the details of each genre I mentioned above. I will add some helpful links and videos for your enjoyment. Thanks for reading.
Coz
TheTelepathic Fish Party Story
A great in depth story of the Telepathic Fish party's at discussed in Episode 4 of EDM 101. Be sure and read the comments for a first hand version of the first event. Transpontine: Telepathic Fish
FACT magazine: music and art
The Vinyl Factory Group
The vision behind The Vinyl Factory and all its units, is one where artists are given the right canvas for their content. One that is crafted and not necessarily about numbers but imperatively about quality and exclusivity. Music is art.Music and Computers by the JSyn folks
Music and Computers: Music and Computers
A Theoretical and Historical Approach
Phil Burk, SoftSynth.com
Larry Polansky, Department of Music, Dartmouth College
Douglas Repetto, Computer Music Center, Columbia University
Mary Roberts
Dan Rockmore, Department of Mathematics, Dartmouth College
An online textbook with JSyn Applets by Larry Polansky, Douglas Repetto, Mary Roberts, Dan Rockmore and Phil Burk has been re-released as a free resource.
A Theoretical and Historical Approach
Phil Burk, SoftSynth.com
Larry Polansky, Department of Music, Dartmouth College
Douglas Repetto, Computer Music Center, Columbia University
Mary Roberts
Dan Rockmore, Department of Mathematics, Dartmouth College
An online textbook with JSyn Applets by Larry Polansky, Douglas Repetto, Mary Roberts, Dan Rockmore and Phil Burk has been re-released as a free resource.
What is a Kim 1?
Here's a whole lotta info on the first micro computer... aka laptop. Used for the creation of the League of Automatic Music Composers which lead into The Hub.
Click here for more info!
Simple Microcomputers and Trainers
Click here for more info!
Simple Microcomputers and Trainers
· · · CROSSFADE· · · Chris Brown & John Bischoff
history of the Hub and More!
An in depth article by Chris Brown & John Boschoff
· · · CROSSFADE· · · Chris Brown & John Bischoff
An in depth article by Chris Brown & John Boschoff
· · · CROSSFADE· · · Chris Brown & John Bischoff
AUDITORIUM
A new music series for lovers of ambient, experimental and slow electroacoustic sounds
If you liked the sounds of the Telpathic fish events... check this out. It's a NYC home grown version:
UPCOMING- April 14th eventInterview with Sergi Jorda/F@ust Music Online
Sergi Jorda/F@ust Music Online interview. by Alessandro LudovicoHow many people concurred to F@ust Music Online?
From 98-01-18 to 98-04-16 (the date in which the reception of pieces for the show concluded), more than 1,100 brief pieces by around 100 composers were submitted, but the core of assiduous participants was no more than 20. These constituted a virtual family, which communicated every night, exchanging sounds, creating music collectively, without knowing each other. They were the FMOL junkies; creators who spent several hours a week during a three months period, and with whom I exchanged numerous technical and esthetical e-mails. Given the SGAE promotion, this influx may seem somewhat poor, but the existence of this selected and faithful core group was enough to justify all effort involved. When conceiving FMOL, one of my personal aims was to conceive an engine and a graphical interface that could be attractive to both trained and untrained electronic musicians. And I think that this goal was fully attained. We now know that several of these "faithful" participants had not a prior contact with experimental electronic music; a few were even composing for the first time, but all of them, took it, however, as a really serious game, and the final quality level of the contributions was really amazing. On the other side, I would like to say that during this period, I did also receive many e-mails from more orthodox composers, puzzled and confused by that crazy piece of software, but who still wanted to collaborate with La Fura in a more traditional manner.
more: Neural.it: Sergi Jorda/F@ust Music Online interview.
Net music for everyone!
The computer, for many years a music laboratory only for highly specialized technologists, by now being networked has become a sphere of musical creativity for a wide clientele. Experimental artists from the techno-scene and jamming synthetic rock musicians, software specialists with a systemic mind and conceptual media artists are presented, as are classical, academic composers. The Net serves to exchange music software, audio files and know-how, people link up to make music though they are located all over the world, web pages turn amateurs into ad hoc musical interpreters - every household is a potential recording studio, every computer is a transmitting and receiving station with a global audience.
The net_musician area examines the concept of listening to music in the public of the Net. The question is whether human-machine interaction, hypertext principles, intimacy within the scope of telematics and new social structures on the Net change our concept of music?
Peter Traub's Bits & Pieces, which is a fully automatic composition software, scours the Net every day for audio files and constantly produces small musical images of the "Internet archive". DJ Spooky's animated Techno-Game AbsolutDJ demands not only musical skills from the player, but also composed combination talent. In Dumb Angel Klaus Gasteier transfers the hypertext principle of the WWW to the interactive composition process of the mysterious, never published Beach Boys' legacy "SMiLE". In the virtual studios of the public midi-pool of Res Rocket Surfer musicians with computers and keyboards link up for intercontinental jam sessions. Sergi Jordˆ's intuitive sound creation FMOL (F@ust Music Online), which was produced for La Fura Dels Baus' Faust 3.0, stores small musical pieces in a network database, which can be exchanged and developed by different generations. Finally, the links page hudba 3000 / summer 99 makes a tour through musical activity zones on the Net and gently encourages the visitor to participate bravely. The starting point is the summer 99 project by sha, which was organized in collaboration with the exhibition HD - High Density in Berlin.
Golo Föllmer
Please visit the net music web site.
more:Net music for everyone!
Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong
Yesterday on Wired.com, Geeta Dayal spoke with the composer and electronic-music pioneer Laurie Spiegel. The reason? A bit of Spiegel’s 1972 piece “Sediment” has cropped up in the film adaptation of The Hunger Games. A 9-minute slice of pure atmospheric portent, “Sediment” is a perfect fit for any dystopian flick. Unlike a great deal of self-styled “experimental” music, it manages to deploy a mood of grimness with a counter-intuitively light touch.
More: Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong: 1972
More: Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong: 1972
Culture Hub in NYC
Founded in 2009 by the Seoul Institute of the Arts in Korea and La MaMa Experimental Theatre Club in New York City, CultureHub currently consists of four telepresence studios: 1. Seoul Institute of the Arts(Seoul/Korea) 2. La MaMa Experimental Theater Club (New York City/USA) 3. Calarts (Los Angeles/USA) 4.Contact Theatre (Manchester, UK)
CORE VALUES
- Pushing boundaries
- Breaking down silos
- Investing in artists
- Inclusiveness
- Global artistic exchange
- Synthesizing art and technology
- Breaking down silos
- Investing in artists
- Inclusiveness
- Global artistic exchange
- Synthesizing art and technology
In Search of True Scenius: What is it?
Coined by musical savant Brian Eno, it refers to his discovery that genius doesn’t simply arise in extraordinary individuals but geniuses emerge out of vibrant, cutting edge “scenes” or cultural niches where a group of people, often crossing disciplines and areas of expertise, are pushing into something new and rewarding each other for taking risks and challenging the status quo...
more: In Search of True Scenius: 1. What is it? : EnlightenNext: The Magazine for Evolutionaries
more: In Search of True Scenius: 1. What is it? : EnlightenNext: The Magazine for Evolutionaries
Pauline Oliveros Interview by Cory Arcangel for BOMB Magazine:
Cory Archangel: A What keeps pushing you to drive in these directions which haven’t been driven in before? To take what you just said as an example, video telephones certainly were not designed for small musical ensembles, but you decided to push the technology in that way. And now you’re working with DARPA technology to organize multi-site performances. These technologies were not designed for these uses, and yet you have continually bent them to your vision.
Pauline Oliveros: I could fall off the cliff. What keeps me going is the interest and excitement. It’s very amazing to work with people in that way, and it’s also very difficult. I do believe that relationships are the Wild West, and that working physically and virtually is part of developing a more peaceful world. This has to be learned through listening and negotiating. Improvised music is a great model for community building and reconciling differences. My work with Deep Listening supports this idea. A community of Deep Listeners has grown out of the summer retreats and workshops are given in many places in the world. People who listen together grow and expand together.
Full Interview here: BOMB Magazine: Pauline Oliveros by Cory Arcangel
Salmon from Episode 6
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