Skip to main content

Electronic

"Today successful composers exploit electronic innovation by self-promoting their music through blogs and internet radio, hosting concert premieres through virtual worlds like Second Life, collaborating internationally through video chat, and composing new hybrid works with live performers and Max/MSP. Revolutionary composers not only utilize existing contemporary technology, but push the artistic envelope by inventing new digital marvels that further transform music. Cutting edge musicians turn to independent companies hosted by a single CPU in a music fan’s basement, and performers reach new audiences as advanced communications shrink the market. A digital tsunami has struck the world and only the technologically evolved will survive." From In Defense of Music Technology: Adapt or Die by S. Pena Young.







"While I do enjoy proselytizing the wonders of avant-garde music and contemporary composition, sometimes I wonder if I myself have put up an imaginary wall. The Information Age has morphed the very definition of composition. Maybe the problem is not that there are too few living composers but that  there are millions and millions of living composers creating music on laptops, the internet, iPhones, electronic instruments, and desktop computers. Maybe by limiting the scope of composition to traditional classical music I have in fact self-imposed this exclusive view of music making, leaving me prey to all of its misconceptions and false assumptions. If I define myself as an “electronic musician,” I soon find kindred spirits that may never have taken Theory III or Orchestration, but create innovative music all the same. Perhaps I need to forget about writing “electroacoustic,” “experimental,” “classical,” “avant-garde,” or “intermedia” compositions, and just concentrate on writing, well, just plain old music. Then I might find myself no longer confined to patriarchal stereotypes and instead part of a larger collective of music lovers that includes every culture, generation, and gender.
So what do I really do?
I make music." From Decomposing Composers by S. Pena Young.




Enhanced by Zemanta

Popular posts from this blog

Top 10 Mistakes When Writing for Percussion

Top 10 Mistakes When Writing for Percussionby Sabrina Young
10. Indicating the wrong mallets for an instrument.Brass mallets on vibes? Try a hammer on a violin!


9. Writing the glockenspiel part as heard.You shouldn't have to climb a ladder of leger lines to read a glock part. Keep it in the staff.

8. When in doubt, adding more suspended cymbal.This is a huge mistake made by arrangers. Yep, cymbals add automatic intensity to a piece, but so can a bass drum roll, a rousing hand drum part, exciting mallet licks, or a hundred other combinations. Well-written percussion parts stand out in the band and church repertoire.



7. Better means more complicated, right?This is my main mistake. A percussion part can be simple enough for a middle school, but it is the ability to use the different tone colors of the percussion palette properly that indicates a maturity in writing, not that impossible part for the timpanist that has them playing timpani, gong, crash cymbals, and triangle in the span of…

Music Industry Insider: 50 Ways to Make Money as a Musician

50 Ways to Make Money as a MusicianWant to have a musical career but not sure how to make money as a musician in today's market? Well, first you need to redefine your goals as a musician and realize that like any job, being a musician involves a lot of work, perseverance, and talent. And in today's Digital Age, you need to be able to combine your skills to help you make a living as a musician. You will probably need to select at least a dozen forms of income and micro-incomes in order to make a full time living as a musician or choose a primary steady gig and add on other projects (what most musicians have done for centuries). 

Each method of making money has a $, $$, $$$ or S for work that will make you a little pocket money ($), possibly significant money - hundreds to thousands ($$), at least part time or possible full time work ($$$), or is steady work (S). Notice that none of these options involve making millions of dollars so you can drive around in a diamond-crusted limo…

Women in Multimedia and New Music bios, unedited

INSTRUCTIONS: Use your computers "FIND" feature to locate artist names in this document.

This is a short BIO list I made for my thesis "The Feminine Musique: Multimedia and Women Today" in 2005. It is a shortlist of bio info on composers and artists involved in interdisciplinary media work, with an emphasis on new music. References to specific web pages are given. The thesis can be checked out through interlibrary loan at Florida International University. I plan to post most of the information of my thesis online in time.

Rebecca Allen

http://www.aec.at/de/archiv_files/19991/1999_440.pdf
Rebecca Allen (USA) is an internationally recognized media artist, inspired by the potential of advanced technology. Central to her work is the study of motion as a form of communication and creative expression. Allen has produced a number of commissioned works in Europe and the U.S. including computer animated films, interactive installations and large-scale multimedia performances. H…