Canadian Electroacoustic Community
Encyclopedia
Founded in 1986, La Communauté électroacoustique canadienne / The Canadian Electroacoustic Community (CEC) is Canada
’s national electroacoustic
/ computer music
/ sonic arts organization and as such is dedicated to promoting this progressive art form in its broadest definition: from “pure” acousmatic
and computer music to soundscape and sonic art to hardware hacking and beyond.
Among the objectives, as written in the Bylaws of the corporation, are the “support, development, production, distribution of information, materials, works… for the ea/cm community in Canada… with continuing special concern for the younger generation of individuals and women in this community. The CEC recognizes and supports the principle of sexual equality, and also, the equal status of English
and French
.”
The CEC endeavours to foster a broad, diverse and inclusive community of electroacoustic practitioners, raise the profile of electroacoustics in the Canadian arts milieu, and to promote Canadian electroacoustic composers and activities across Canada and internationally. The various ongoing and singular CEC activities aim to maintain and strengthen communications and information flow concerning electroacoustics.
With projects such as the electronic journal eContact!, the online jukebox SONUS, the annual Jeu de temps / Times Play (JTTP) project for Canadian-based young and emerging sound artists, and the Cache, PRESENCE and DISContact! CD compilation series, the CEC offers Canadian electroacousticians a venue to both promote themselves and participate within the global community, thereby fostering mutual awareness and benefit in the international scene.
Between 2005–08, a number of important changes were made to the journal’s overall “look” and format, which greatly improved its navigability, readability and consistency. The interrelations between eContact! and other CEC projects, notably SONUS, were strengthened, and a number of recurring elements have been implemented, including the “Community Reports,” “Rediscovered Treasures,” “Focus on Institutions” and KwikPicks” columns. At the same time, the scope and size of the contributions has expanded considerably, reflecting the range of backgrounds and experiences the growing community of contributors brings to the journal.
eContact! has matured into more than just a journal: it is recognized in the international community as a significant electroacoustic primary research source and resource which makes very efficient and unparallelled use of the potential of open online publication. Each issue can be understood as a living portal into the theme it features, and its open and flexible structure — not to mention the span of topics it covers — reflect the CEC’s general policy of inclusiveness.
Issues of special note in recent years include: 9.3 — Mastering in Electroacoustics (April 2007), a bilingual issue; 10.2 — Interviews (August 2008), the largest issue yet, with 115 individual interviews; and the Special Edition 10.x — Concordia Archival Project (CAP) (March 2009), celebrating the journal’s tenth year of publication.
Cache is distributed internationally to people and institutions active in the production and support of electroacoustics (CEC members, radio programmes and stations, concert promoters and various important cultural organizations). Several of the top-placing participants in past editions have gone on to win prizes in other renowned international electroacoustic competitions, such as Bourges, Métamorphoses and the SOCAN Foundation Awards, further confirming the healthy state of the electroacoustic community in Canada and the reputation it has developed over the years in the international scene.
With a number of new Project Partners joining the project for JTTP 2008, the size of the awards package (recordings, books and journals) given to the top five winners was substantially increased. Several members of the international jury also commented very positively on the strength of the batch of submissions in 2008.
For JTTP 2009, the CEC collaborated with Germany’s national electroacoustic association, DEGEM. Similar to the collaboration in 2003 with the UK’s Sonic Arts Network (SAN), submissions from both Canada and Germany were accepted. Prizes were awarded to both the Canadian and German top-placing composers, and Cache 2009 (released in Fall 2010) is a double-CD, with one CD containing selected Canadian works and the other containing selected German works.
The Concordia Archival Project (CAP) is a joint research project between Concordia University
and the Canadian Electroacoustic Community (CEC). Coordinated by the CEC from July 2007 to December 2008, CAP has allowed for the recovery and digital archiving of a major collection of electroacoustic works from the 1960s–1990s held at Concordia University in Montréal. This important initiative, funded by Heritage Canada through Canadian Culture Online, has produced the largest single primary resource for the history of electroacoustics in Canada available anywhere in the world. The project is presented through a Media Library, a series of eLearning Modules and a Special Edition 10th Anniversary issue of eContact!.
project (2008–09), as well as the Electroacoustic Seminars tour mentioned above.
In August 2010, CEC President David Ogborn will chair and coordinate the fourth annual edition of the Toronto Electroacoustic Symposium (TES), a co-production of the CEC, the University of Toronto and New Adventures in Sound Art (NAISA). The events were again planned to coincide with and complement NAISA’s annual Sound Travels events. This collaboration has proven very effective in bringing together the various members of the Toronto community on a recurring basis and is helping to strengthen the local scene, as well as increase its visibility both regionally and internationally.
(SAM), the Society for Electro-Acoustic Music in the United States
(SEAMUS), Australasian Computer Music Association
(ACMA) and others. For example, the 2003 JTTP project involved a collaboration between the CEC and SAN, whereby the competition, normally open only to Canadian young and emerging sound artists, accepted submissions by Canadian and UK participants. The resulting CD compilation, Cache 2003, contains one CD of works by Canadian artists, and one by UK artists. A similar collaboration took place with JTTP 2009, where the CEC collaborated with Germany’s national electroacoustic association, DEGEM. Submissions from both Canada and Germany were accepted. Prizes were awarded to both the Canadian and German top-placing composers, and Cache 2009 (released in Fall 2010) is a double-CD, with one CD containing selected Canadian works and the other containing selected German works.
page.
Canada
Canada is a North American country consisting of ten provinces and three territories. Located in the northern part of the continent, it extends from the Atlantic Ocean in the east to the Pacific Ocean in the west, and northward into the Arctic Ocean...
’s national electroacoustic
Electroacoustic music
Electroacoustic music originated in Western art music during its modern era following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition during the mid-20th century are associated with the activities of composers...
/ computer music
Computer music
Computer music is a term that was originally used within academia to describe a field of study relating to the applications of computing technology in music composition; particularly that stemming from the Western art music tradition...
/ sonic arts organization and as such is dedicated to promoting this progressive art form in its broadest definition: from “pure” acousmatic
Acousmatic
Acousmatic sound is sound one hears without seeing an originating cause. The word acousmatic, from the French acousmatique, is derived from ἀκουσματικοί akousmatikoi, a term used to refer to probationary pupils of the philosopher Pythagoras who, so that they might better concentrate on his...
and computer music to soundscape and sonic art to hardware hacking and beyond.
Among the objectives, as written in the Bylaws of the corporation, are the “support, development, production, distribution of information, materials, works… for the ea/cm community in Canada… with continuing special concern for the younger generation of individuals and women in this community. The CEC recognizes and supports the principle of sexual equality, and also, the equal status of English
English language
English is a West Germanic language that arose in the Anglo-Saxon kingdoms of England and spread into what was to become south-east Scotland under the influence of the Anglian medieval kingdom of Northumbria...
and French
French language
French is a Romance language spoken as a first language in France, the Romandy region in Switzerland, Wallonia and Brussels in Belgium, Monaco, the regions of Quebec and Acadia in Canada, and by various communities elsewhere. Second-language speakers of French are distributed throughout many parts...
.”
The CEC endeavours to foster a broad, diverse and inclusive community of electroacoustic practitioners, raise the profile of electroacoustics in the Canadian arts milieu, and to promote Canadian electroacoustic composers and activities across Canada and internationally. The various ongoing and singular CEC activities aim to maintain and strengthen communications and information flow concerning electroacoustics.
With projects such as the electronic journal eContact!, the online jukebox SONUS, the annual Jeu de temps / Times Play (JTTP) project for Canadian-based young and emerging sound artists, and the Cache, PRESENCE and DISContact! CD compilation series, the CEC offers Canadian electroacousticians a venue to both promote themselves and participate within the global community, thereby fostering mutual awareness and benefit in the international scene.
eContact!
The CEC’s online journal of electroacoustics was launched in May 1998 as the successor to the print journal, Contact! (1988–97), and is published four times a year. Each issue focusses on a particular theme or topic, and Guest Editors have been invited to coordinate one issue per year since eContact! 7.x (2004–05). Articles, reviews, interviews, commentaries and analyses are featured in the journal, often supported by audio and video files. All issues are freely available to the public.Between 2005–08, a number of important changes were made to the journal’s overall “look” and format, which greatly improved its navigability, readability and consistency. The interrelations between eContact! and other CEC projects, notably SONUS, were strengthened, and a number of recurring elements have been implemented, including the “Community Reports,” “Rediscovered Treasures,” “Focus on Institutions” and KwikPicks” columns. At the same time, the scope and size of the contributions has expanded considerably, reflecting the range of backgrounds and experiences the growing community of contributors brings to the journal.
eContact! has matured into more than just a journal: it is recognized in the international community as a significant electroacoustic primary research source and resource which makes very efficient and unparallelled use of the potential of open online publication. Each issue can be understood as a living portal into the theme it features, and its open and flexible structure — not to mention the span of topics it covers — reflect the CEC’s general policy of inclusiveness.
Issues of special note in recent years include: 9.3 — Mastering in Electroacoustics (April 2007), a bilingual issue; 10.2 — Interviews (August 2008), the largest issue yet, with 115 individual interviews; and the Special Edition 10.x — Concordia Archival Project (CAP) (March 2009), celebrating the journal’s tenth year of publication.
Jeu de Temps / Times Play (JTTP) / Cache (CD compilation)
Jeu de Temps / Times Play (JTTP) was launched in 2000 to support and encourages the work of Canadian-based young and emerging sound artists. This annual project consists of a competition with more than $4300 (in 2008) worth of prizes awarded to the top five placing composers (by selection of an international jury), an issue of eContact! featuring all submissions to the project, a Cache CD compilation with the top 8–11 placing works, and international radio broadcasts and concert diffusion for the winners.Cache is distributed internationally to people and institutions active in the production and support of electroacoustics (CEC members, radio programmes and stations, concert promoters and various important cultural organizations). Several of the top-placing participants in past editions have gone on to win prizes in other renowned international electroacoustic competitions, such as Bourges, Métamorphoses and the SOCAN Foundation Awards, further confirming the healthy state of the electroacoustic community in Canada and the reputation it has developed over the years in the international scene.
With a number of new Project Partners joining the project for JTTP 2008, the size of the awards package (recordings, books and journals) given to the top five winners was substantially increased. Several members of the international jury also commented very positively on the strength of the batch of submissions in 2008.
For JTTP 2009, the CEC collaborated with Germany’s national electroacoustic association, DEGEM. Similar to the collaboration in 2003 with the UK’s Sonic Arts Network (SAN), submissions from both Canada and Germany were accepted. Prizes were awarded to both the Canadian and German top-placing composers, and Cache 2009 (released in Fall 2010) is a double-CD, with one CD containing selected Canadian works and the other containing selected German works.
SONUS
Launched in 2003, SONUS has grown to be the world’s largest online and freely-available Jukebox for electroacoustic works. More than 2000 works by established composers as well as young and emerging composers are found in SONUS and reflect the diversity of the larger field of electroacoustics itself: acousmatic, electronic and tape music, experimental, radiophonic and algorithmic works, soundscape and acoustic ecology, plunderphonics and hardware hacking and much more are featured. SONUS continues to grow, with an open and ongoing call for works from Canadian and international artists.Education-Oriented Activities
During the 2007–08 year, two important new and exciting education-oriented projects were undertaken. A series of seminars and concerts were held in eight institutions across Canada in Fall 2007. The “Professional Production in Electroacoustics” seminars covered various topics related to electroacoustic creation, and the concerts featured works which complemented the topics covered in the seminars. Response was extremely enthusiastic and the project was a great administrative success. There is much interest in this project and discussions have taken place around a possible second edition of the project.The Concordia Archival Project (CAP) is a joint research project between Concordia University
Concordia University
Concordia University is a comprehensive Canadian public university located in Montreal, Quebec, one of the two universities in the city where English is the primary language of instruction...
and the Canadian Electroacoustic Community (CEC). Coordinated by the CEC from July 2007 to December 2008, CAP has allowed for the recovery and digital archiving of a major collection of electroacoustic works from the 1960s–1990s held at Concordia University in Montréal. This important initiative, funded by Heritage Canada through Canadian Culture Online, has produced the largest single primary resource for the history of electroacoustics in Canada available anywhere in the world. The project is presented through a Media Library, a series of eLearning Modules and a Special Edition 10th Anniversary issue of eContact!.
Collaborations, Conferences and Symposiums
Over the years, the CEC has assisted, collaborated on and co-produced a number of festivals, conferences and other events across Canada. Many people in the community fondly remember the >convergence< (Banff, 1989) and >>PERSPECTIVES>> (Montréal, 1991) conferences, and in recent years the CEC has been involved in a number of local and national community initiatives, notably the east coast Oscillations festival, the Toronto Electroacoustic Symposium and the first all-Canadian edition of the 60x6060x60
60x60 is a collection of 60 electroacoustic or acousmatic works from 60 different composers/artists, each work 60 seconds or less in duration. 60x60 project showcases sixty new works, each sixty seconds or less, by sixty composers in a continuous sixty minute concert, for a one-hour cross-section...
project (2008–09), as well as the Electroacoustic Seminars tour mentioned above.
In August 2010, CEC President David Ogborn will chair and coordinate the fourth annual edition of the Toronto Electroacoustic Symposium (TES), a co-production of the CEC, the University of Toronto and New Adventures in Sound Art (NAISA). The events were again planned to coincide with and complement NAISA’s annual Sound Travels events. This collaboration has proven very effective in bringing together the various members of the Toronto community on a recurring basis and is helping to strengthen the local scene, as well as increase its visibility both regionally and internationally.
The CEC and the International Community
The CEC maintains close ties with internationally-based sister organizations, such as the UK’s Sound and MusicSound and Music
Sound and Music is a development agency promoting and supporting contemporary music in the United Kingdom. It was established in 2008 from the merger of four existing bodies working in the contemporary music field: the Society for the Promotion of New Music, the British Music Information Centre,...
(SAM), the Society for Electro-Acoustic Music in the United States
Society for Electro-Acoustic Music in the United States
The Society for Electro-Acoustic Music in the United States is a nonprofit US based organization founded in 1984 which aims to promote electro-acoustic music...
(SEAMUS), Australasian Computer Music Association
Australasian Computer Music Association
The Australasian Computer Music Association is a nonprofit Australia and New Zealand based organisation founded in 1989, which aims to promote electroacoustic and computer music...
(ACMA) and others. For example, the 2003 JTTP project involved a collaboration between the CEC and SAN, whereby the competition, normally open only to Canadian young and emerging sound artists, accepted submissions by Canadian and UK participants. The resulting CD compilation, Cache 2003, contains one CD of works by Canadian artists, and one by UK artists. A similar collaboration took place with JTTP 2009, where the CEC collaborated with Germany’s national electroacoustic association, DEGEM. Submissions from both Canada and Germany were accepted. Prizes were awarded to both the Canadian and German top-placing composers, and Cache 2009 (released in Fall 2010) is a double-CD, with one CD containing selected Canadian works and the other containing selected German works.
People
A more extensive list of electroacoustic composers can be found on the electroacoustic musicElectroacoustic music
Electroacoustic music originated in Western art music during its modern era following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition during the mid-20th century are associated with the activities of composers...
page.
Canadian electroacoustic / electronic / computer music composers of note
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Paul Dolden Paul Dolden is an electroacoustic music composer born January 23, 1956 in Ottawa, Canada, and currently living in Montréal, Canada.Paul Dolden is an electroacoustic music composer born January 23, 1956 in Ottawa, Canada, and currently living in Montréal, Canada.Paul Dolden is an electroacoustic... Louis Dufort Louis Dufort is an electroacoustic music composer born July 29, 1970 in Montréal, Canada, and currently living in Montréal, Canada.Louis Dufort is an electroacoustic music composer born July 29, 1970 in Montréal, Canada, and currently living in Montréal, Canada.Louis Dufort is an electroacoustic... Gilles Gobeil Gilles Gobeil is an electroacoustic music composer born September 27, 1954, in Sorel, Canada, and currently living in Montreal, Canada.Gilles Gobeil is an electroacoustic music composer born September 27, 1954, in Sorel, Canada, and currently living in Montreal, Canada.Gilles Gobeil is an... Udo Kasemets Udo Kasemets is an Estonian-born Canadian composer of orchestral, chamber, vocal, piano, and electroacoustic works. He was one of the first to adopt the methods of John Cage, and is also a conductor, lecturer, pianist, organist, teacher and writer.Kasemets was born in Tallinn, Estonia, and trained... Hugh Le Caine Hugh Le Caine was a Canadian physicist, composer, and instrument builder.Le Caine was brought up in Port Arthur in northwestern Ontario... |
Robert Normandeau Robert Normandeau is a Canadian electroacoustic music composer.Normandeau studied at the Université Laval in Quebec City, and at the Université de Montréal, where he studied with Marcelle Deschênes and Francis Dhomont... John Oswald (composer) John Oswald is a Canadian composer, saxophonist, media artist and dancer. His best known project is Plunderphonics, the practice of making new music out of previously existing recordings .-Philosophy:Oswald coined the term "plunderphonics" to describe his craft in a paper called which he... Stéphane Roy Stéphane Roy is a Canadian electroacoustic music composer and writer on music. An associate composer of the Canadian Music Centre, his works have received awards from international competitions in Canada, the USA, and Europe... Pierre Alexandre Tremblay Pierre Alexandre Tremblay is an electroacoustic music composer born March 13, 1975 in Montréal, Canada, and currently living in Huddersfield, UK.-Recordings:* Alter ego... Barry Truax Barry Truax is a Canadian composer who specializes in real-time implementations of granular synthesis, often of sampled sounds, and soundscapes... Hildegard Westerkamp Hildegard Westerkamp is a German and Canadian composer of electroacoustic music.Many of her compositions deal with the acoustic environment. Particular themes include soundscapes of urban or rural areas, including voices, noise, silence, music and media, and so on... |
Other EA/CM composers and projects
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Paul Lansky Paul Lansky is an American electronic-music or computer-music composer who has been producing works from the 1970s up to the present day .-Biography:... György Ligeti György Sándor Ligeti was a composer of contemporary classical music. Born in a Hungarian Jewish family in Transylvania, Romania, he briefly lived in Hungary before becoming an Austrian citizen.-Early life:... Alvin Lucier Alvin Lucier is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and... Otto Luening Otto Clarence Luening was a German-American composer and conductor, and an early pioneer of tape music and electronic music.... Max Mathews Max Vernon Mathews was a pioneer in the world of computer music.-Biography:... Eduardo Reck Miranda Eduardo Reck Miranda, Ph.D, , is a Brazilian composer of chamber and electroacoustic pieces but is most notable in the United Kingdom for his scientific research into computer music, particularly in the field of human-machine interfaces where brain waves will replace keyboards and voice commands to... Musica Elettronica Viva Musica Elettronica Viva is a live acoustic/electronic improvisational group formed in Rome, Italy, in 1966. Over the years, its members have included Alvin Curran, Richard Teitelbaum, Frederic Rzewski, Allan Bryant, Carol Plantamura, Ivan Vandor, Steve Lacy, and Jon Phetteplace.They were early... Bernard Parmegiani Bernard Parmegiani is a composer best known for his electronic or acousmatic music.-Biography:Between 1957 and 1961 he studied mime with Jacques Lecoq, a period he later regarded as important to his work as a composer... Larry Polansky Larry Polansky is a composer, guitarist, mandolinist, and a professor at Dartmouth College. He is a founding member and co-director of . He co-wrote HMSL with Phil Burk and David Rosenboom.... Miller Puckette Miller Smith Puckette is the associate director of the Center for Research in Computing and the Arts as well as a professor of music at the University of California, San Diego, where he has been since 1994.... Jean-Claude Risset Jean-Claude Risset is a French composer, best known for his pioneering contributions to computer music. He is a former student of André Jolivet and former co-worker of Max Mathews at Bell Labs.... Pierre Schaeffer Pierre Henri Marie Schaeffer was a French composer, writer, broadcaster, engineer, musicologist and acoustician of the 20th century. His innovative work in both the sciences —particularly communications and acoustics— and the various arts of music, literature and radio presentation after the end... |
Laurie Spiegel Laurie Spiegel is an American composer. She has worked at Bell Laboratories, in computer graphics, and is known primarily for her electronic-music compositions and her algorithmic composition software Music Mouse... Karlheinz Stockhausen Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music"... Morton Subotnick Morton Subotnick is an American composer of electronic music, best known for his Silver Apples of the Moon, the first electronic work commissioned by a record company, Nonesuch... Vladimir Ussachevsky Vladimir Kirilovitch Ussachevsky was a composer, particularly known for his work in electronic music.-Biography:... Iannis Xenakis Iannis Xenakis was a Romanian-born Greek ethnic, naturalized French composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers... |
National electroacoustic organisations
- Australia / New Zealand: ACMA — Australasian Computer Music AssociationAustralasian Computer Music AssociationThe Australasian Computer Music Association is a nonprofit Australia and New Zealand based organisation founded in 1989, which aims to promote electroacoustic and computer music...
- Belgium: FebeME — Fédération Belge de Musique Electroacoustique
- Canada: CEC — Communauté électroacoustique canadienne / The Canadian Electroacoustic Community (1986)
- Chile: CECh — Comunidad Electroacústica de Chile
- China: EMAC — Electroacoustic Music Association of China
- Denmark: DIEM — Danish Institute of Electroacoustic Music
- Germany: DEGEM — Deutsche Gesellschaft für Elektroakustische Musik e.V.
- Greece: HELMCA — Hellenic Electroacoustic Music Composers Association
- Korea: KEAMS — Korean Electro-Acoustic Music Society
- Mexico: AARSOM — Asociacion de arte sonoro Mexicano
- Netherlands: NEAR — Netherlands Electro-Acoustic Repertoire Centre
- Norway: NOTAM — Norsk nettverk for Teknologi, Akustikk og Musikk
- Spain: AMEE — Asociación de Música Electroacústica de Espana (1989)
- Sweden: EMS — Elektroakustisk Musik i Sverige
- UK: SAM — Sound and MusicSound and MusicSound and Music is a development agency promoting and supporting contemporary music in the United Kingdom. It was established in 2008 from the merger of four existing bodies working in the contemporary music field: the Society for the Promotion of New Music, the British Music Information Centre,...
- USA: SEAMUS — Society for Electro-Acoustic Music in the United StatesSociety for Electro-Acoustic Music in the United StatesThe Society for Electro-Acoustic Music in the United States is a nonprofit US based organization founded in 1984 which aims to promote electro-acoustic music...
(1984)
International electroacoustic organisations
- CIME/ICEM — Confédération Internationale de Musique Electroacoustique / International Confederation of Electroacoustic Music
- ICMA — International Computer Music Association
Important international research and production centres
- CCRMA — Center for Computer Research in Music and Acoustics (Stanford CA, USA)
- CMMAS — Centro Mexicano para la Música y las Artes Sonoras (Morelia, Mexico)
- GRM — Groupe de Recherche Musicales (France)
- INA — Institut National de l’Audiovisuel (France)
- IRCAM — Institut de Recherche et Coordination Acoustique/Musique (France)
See also
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Electroacoustic improvisation Electroacoustic improvisation is a style of music that incorporates aspects of both electroacoustic music and free improvisation.-Origins:Live electronics has been part of the sound art world since the 1930s with the early works of John Cage... Electroacoustic music Electroacoustic music originated in Western art music during its modern era following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition during the mid-20th century are associated with the activities of composers... Electronic music Electronic music is music that employs electronic musical instruments and electronic music technology in its production. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound... Experimental music Experimental music refers, in the English-language literature, to a compositional tradition which arose in the mid-20th century, applied particularly in North America to music composed in such a way that its outcome is unforeseeable. Its most famous and influential exponent was John Cage... Fast Fourier transform A fast Fourier transform is an efficient algorithm to compute the discrete Fourier transform and its inverse. "The FFT has been called the most important numerical algorithm of our lifetime ." There are many distinct FFT algorithms involving a wide range of mathematics, from simple... Frequency modulation synthesis A 220 Hz carrier tone modulated by a 440 Hz modulating tone with various choices of modulation index, β. The time domain signals are illustrated above, and the corresponding spectra are shown below .... Granular synthesis Granular synthesis is a basic sound synthesis method that operates on the microsound time scale.It is based on the same principle as sampling. However, the samples are not played back conventionally, but are instead split into small pieces of around 1 to 50ms. These small pieces are called grains... Karplus-Strong string synthesis Karplus-Strong string synthesis is a method of physical modelling synthesis that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some types of percussion.... Linear predictive coding Linear predictive coding is a tool used mostly in audio signal processing and speech processing for representing the spectral envelope of a digital signal of speech in compressed form, using the information of a linear predictive model... (LPC) Live coding Live coding is a performance practice centred upon the use of improvised interactive programming and real-time computing in creating sound and image based digital media. Live coding is particularly prevalent in computer music, combining algorithmic composition with improvisation... Live electronic music Live electronic music generally utilizes instrumental or electronic sounds but excludes those that have been prerecorded. The timbres of the various sounds may then be transformed extensively during performance using devices such as amplifiers, filters, ring modulators and other forms of circuitry... |
Musique concrète Musique concrète is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sounds derived from musical instruments or voices, nor to elements traditionally thought of as "musical"... Nonlinear distortion Nonlinear distortion is a term used to describe the phenomenon of a non-linear relationship between the "input" and "output" signals of - for example - an electronic device.-Model:... Phase vocoder A phase vocoder is a type of vocoder which can scale both the frequency and time domains of audio signals by using phase information. The computer algorithm allows frequency-domain modifications to a digital sound file .At the heart of the phase vocoder is the short-time Fourier transform ,... Physical modelling synthesis In sound synthesis, physical modelling synthesis refers to methods in which the waveform of the sound to be generated is computed by using a mathematical model, being a set of equations and algorithms to simulate a physical source of sound, usually a musical instrument... Sonology Sonology is a neologism used to describe the study of sound in a variety of disciplines.In medicine, the term is used in the field of radiology to describe the practice of medical ultrasonography.... Sound culture SoundCulture is also an international organisation of artists, theorists and performers with a common interest to promote and develop the sonic arts.... Sound sculpture Sound sculpture is an intermedia and time based art form in which sculpture or any kind of art object produces sound, or the reverse... Soundscape A soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The study of soundscape is the subject of acoustic ecology... Subtractive synthesis Subtractive synthesis is a method of sound synthesis in which partials of an audio signal are attenuated by a filter to alter the timbre of the sound... Unit generator Unit generators are the basic formal units in many MUSIC-N-style computer music programming languages. They are sometimes called opcodes , though this expression is not accurate in that these are not machine-level instructions.Unit generators form the building blocks for designing synthesis and... Tape Music Tape Music is an experimental 10" vinyl release by Jack Dangers. The vinyl release was coupled with the album Sounds Of The 20th Century No2 when released as a flexi disc vinyl.... Timbre In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the... |
External links
- Official website
- The CEC’s Facebook page
- The CEC on Twitter
- SONUS — Online listening library (jukebox) of electroacoustic works