Publication details for Professor Peter ManningManning PD (2006). 'The Significance of Techné in Understanding the Art and Practice of Electroacoustic Composition'. Organised Sound 11(1): 81-90.
- Publication type: Journal Article
- ISSN/ISBN: 1355-7718, 1469-8153
- DOI: 10.1017/S1355771806000112
- Keywords: Spatialisation techniques, Tape recorder.
- Further publication details on publisher web site
- Durham Research Online (DRO) - may include full text
Author(s) from Durham
The birth of electroacoustic music is associated with an era of creativity which is now firmly embedded in the past. As the years advance so the opportunities for evaluating the pioneering years of the medium become increasingly remote. Few can now claim first-hand experience of working with the technologies that shaped and influenced the evolution of the early repertory, and many commentators are content to see them consigned to the museum. Others are less sure, having become aware of a number of features that appear to have no parallels in the modern all-digital domain. This article is predicated on the proposition that the functional characteristics of the equipment available during the formative years materially influenced the ways in which composers developed their compositional aesthetic. By studying the characteristics of the resulting interactions, important clues emerge as to the true nature of this engagement. Central to this study is the nature of the techné involved in these processes of creativity, and the significance of this is evaluated in the context of establishing a case for further research in this area. Particular attention is paid to the role of the tape recorder in this context, in particular its influence on the development of spatialisation techniques.
Adorno, T. 1958. Musik und Technik. Gravesaner Blätter
Borio, G. 1993. New technology, new techniques: the
aesthetics of electronic music in the 1950s. Interface 22:
Boulanger, R. (ed.) 2000. The Csound Book, Perspectives in
Software Synthesis, Sound Design, Signal Processing and
Programming. Cambridge, MA: MIT Press.
Boulez, P. 1977. Technology and the composer. Reproduced
in S. Emmerson (ed.) The Language of Electroacoustic
Music, pp. 5–14. London: Macmillan Press, 1986.
Chadabe, J. 1997. Electric Sound. Upper Saddle River,
NJ: Prentice Hall.
Clarke, M. Extending contacts: the concept of unity in
computer music. Perspectives of New Music 36(1):
Davies, H. 1968. International Electronic Music Catalog.
Cambridge, MA: MIT Press.
Decroupet, P., and Ungeheuer, E. 1998. Through the
sensory looking glass: the aesthetic and serial foundations
of Gesang der Jünglinge. Perspectives of New Music
Di Scipio, A. 1995a. Inseparable models of materials and of
musical design in electroacoustic and computer music.
Journal of New Music Research 24: 34–50.
Di Scipio, A. 1995b. Centrality of techné for an aesthetic
approach on electroacoustic music. Journal of New Music
Research 24: 369–83.
Enkel, F. 1954 Die technischen Einrichtungen des ‘Studios
für elektronische Musik’, Technische Hausmitteilungen
des Norwestdesutcher Runfunfunks 6: 8–15. Translated
by D. Sinclair, 1956. The Technical Facilities of the
Electronic Music of the Cologne Broadcasting Station,
National Research Council of Canada, Technical
Harvey, J. 1976. The Music of Karlheinz Stockhausen.
London: Faber and Faber.
Heidegger, M. 1954. Die Frage nach der Technik. Vorträge
und Aufsätze, pp. 13–44. Pfullingen: Günter Neske, 1959.
Landy, L. 1999. Reviewing the musicology of electroacoustic
music: a plea for greater triangulation. Organised
Sound 4(1): 61–70.
Lietti, A. 1956. Gli impianti technici dello Studio di
Fonologia Musicale di Radio Milano. Elettronica 5(3):
116–21. Translated by D. Sinclair, 1956. The Technical
Equipment of the Electronic Music Studio of Radio Milan,
National Research Council of Canada, Technical
Machover, T. 1984. A view of music at IRCAM. In
T. Machover (ed.) Contemporary Music Review 1(1):
Maconie, R. 1990. The Works of Karlheinz Stockhausen, 2nd
edn. Oxford: Oxford University Press.
Manning, P. 2004. Electronic and Computer Music. New
York: Oxford University Press.
Moles, A. 1960. Les musiques expérimentales: Revue d’une
tendance important de la musique contemporaine. Paris:
Éditions du Cercle d’Art Contemporain.
Palombini, C. 1998. Technology and Pierre Schaeffer: Pierre
Schaeffer’s Arts-Relais, Walter Benjamin’s technische
Reproduzierbarkeit and Martin Heidegger’s Ge-stell.
Organised Sound 3(1): 35–43.
Poullin, J. 1953. Son et espace. In Vers une musique
expérimentale, pp. 105–14. Paris: La Revue Musicale.
Stockhausen, K. 1962. The concept of unity in electronic
music, translated by E. Barkin. Perspectives of New
Music 1: 39–48
Tannenbaum, M. 1987. Conversations with Stockhausen.
Oxford: Clarendon Press.
Wilkinson, M. 1958. 2 months in the Studio di Fonologica.
Score 22: 41–8.
Copyright © Cambridge University Press 2006.