LEADER 03973oam 2200661I 450 001 9910450865303321 005 20200520144314.0 010 $a1-351-21785-2 010 $a1-351-21786-0 010 $a1-351-21784-4 010 $a1-281-09929-5 010 $a9786611099299 010 $a0-7546-8680-9 024 7 $a10.4324/9781351217866 035 $a(CKB)1000000000406712 035 $a(OCoLC)503443191 035 $a(CaPaEBR)ebrary10211348 035 $a(SSID)ssj0000193467 035 $a(PQKBManifestationID)11167639 035 $a(PQKBTitleCode)TC0000193467 035 $a(PQKBWorkID)10226267 035 $a(PQKB)10483084 035 $a(MiAaPQ)EBC429715 035 $a(Au-PeEL)EBL429715 035 $a(CaPaEBR)ebr10211348 035 $a(CaONFJC)MIL109929 035 $a(OCoLC)476277921 035 $a(OCoLC)1011104087 035 $a(EXLCZ)991000000000406712 100 $a20180706d2017 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aLiving Electronic Music 205 $aFirst edition. 210 1$aLondon :$cTaylor and Francis,$d2017. 215 $a1 online resource (214 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7546-5548-2 311 $a0-7546-5546-6 320 $aIncludes bibliographical references (p. [171]-185) and index. 327 $aLiving presence -- The reanimation of the world : relocating the live -- The human body in electroacoustic music : sublimated or celebrated? -- Playing space : towards an aesthetics of live electronics -- To input the live : microphones and other human activity transducers -- Diffusion-projection : the grain of the loudspeaker. 330 2 $a"Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials, some created beforehand in a studio, some coded 'on the fly', others 'plundered' from the widest possible range of sources. But others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. Some composers claim they just 'respond' to sound and compose 'with their ears', while others use models and analogies of previously 'non-musical' processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange 'dance' of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear."--Provided by publisher. 606 $aElectronic music$xHistory and criticism 606 $aMusic$xPhilosophy and aesthetics 608 $aElectronic books. 615 0$aElectronic music$xHistory and criticism. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a786.7 700 $aEmmerson$b Simon$0987000 801 0$bFlBoTFG 801 1$bFlBoTFG 906 $aBOOK 912 $a9910450865303321 996 $aLiving Electronic Music$92255534 997 $aUNINA