Conference paper Open Access

Hugh Davies's Electroacoustic Musical Instruments and their Relation to Present-Day Live Coding Practice: Some Historic Precedents and Similarities

Mooney


DCAT Export

<?xml version='1.0' encoding='utf-8'?>
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:adms="http://www.w3.org/ns/adms#" xmlns:cnt="http://www.w3.org/2011/content#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dct="http://purl.org/dc/terms/" xmlns:dctype="http://purl.org/dc/dcmitype/" xmlns:dcat="http://www.w3.org/ns/dcat#" xmlns:duv="http://www.w3.org/ns/duv#" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:frapo="http://purl.org/cerif/frapo/" xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#" xmlns:gsp="http://www.opengis.net/ont/geosparql#" xmlns:locn="http://www.w3.org/ns/locn#" xmlns:org="http://www.w3.org/ns/org#" xmlns:owl="http://www.w3.org/2002/07/owl#" xmlns:prov="http://www.w3.org/ns/prov#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:schema="http://schema.org/" xmlns:skos="http://www.w3.org/2004/02/skos/core#" xmlns:vcard="http://www.w3.org/2006/vcard/ns#" xmlns:wdrs="http://www.w3.org/2007/05/powder-s#">
  <rdf:Description rdf:about="https://doi.org/10.5281/zenodo.19319">
    <rdf:type rdf:resource="http://www.w3.org/ns/dcat#Dataset"/>
    <dct:type rdf:resource="http://purl.org/dc/dcmitype/Text"/>
    <dct:identifier rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://doi.org/10.5281/zenodo.19319</dct:identifier>
    <foaf:page rdf:resource="https://doi.org/10.5281/zenodo.19319"/>
    <dct:creator>
      <rdf:Description>
        <rdf:type rdf:resource="http://xmlns.com/foaf/0.1/Agent"/>
        <foaf:name>Mooney</foaf:name>
        <org:memberOf>
          <foaf:Organization>
            <foaf:name>James</foaf:name>
          </foaf:Organization>
        </org:memberOf>
      </rdf:Description>
    </dct:creator>
    <dct:title>Hugh Davies's Electroacoustic Musical Instruments and their Relation to Present-Day Live Coding Practice: Some Historic Precedents and Similarities</dct:title>
    <dct:publisher>
      <foaf:Agent>
        <foaf:name>Zenodo</foaf:name>
      </foaf:Agent>
    </dct:publisher>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#gYear">2015</dct:issued>
    <dcat:keyword>iclc2015</dcat:keyword>
    <dcat:keyword>live coding</dcat:keyword>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#date">2015-07-13</dct:issued>
    <owl:sameAs rdf:resource="https://zenodo.org/record/19319"/>
    <adms:identifier>
      <adms:Identifier>
        <skos:notation rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://zenodo.org/record/19319</skos:notation>
      </adms:Identifier>
    </adms:identifier>
    <dct:isPartOf rdf:resource="https://zenodo.org/communities/iclc"/>
    <dct:isPartOf rdf:resource="https://zenodo.org/communities/iclc2015"/>
    <dct:isPartOf rdf:resource="https://zenodo.org/communities/livecode"/>
    <dct:description>&lt;p&gt;The purpose of this paper is to present the self-built electroacoustic musical instruments of Hugh Davies&amp;nbsp;(1943-2005) to the international live coding community, and to propose points of similarity between&amp;nbsp;Davies&amp;rsquo;s practice and present-day live coding practice. In the first part of the paper, the context within&amp;nbsp;which Davies&amp;rsquo;s instrument-building practice developed, in the late 1960s, is outlined, and a number of&amp;nbsp;specific instruments are described. Aspects of Davies&amp;rsquo;s performance style, repertoire, and the ensembles&amp;nbsp;with which he performed are discussed, as are activities such as instrument-building workshops and public&amp;nbsp;exhibitions of instruments, in which he regularly participated. In the second part of the paper, four areas of&amp;nbsp;connection with present-day live coding practice are suggested. Respectively, these focus upon live coding&amp;rsquo;s&amp;nbsp;status: (1) as part of a long historic tradition of live electronic music performance (as opposed to electronic&amp;nbsp;music constructed in the studio); (2) as a practice in which the performer him or herself builds the apparatus&amp;nbsp;(whether physical or code-based) through which the music is mediated; (3) as an improvised or semi-improvised art-form in which music is developed in real time, within a framework bounded by material or&amp;nbsp;quasi-material constraints; and (4) as a community of practice with a distinct agenda of promoting&amp;nbsp;understanding through engagement. This paper is presented as a case study in exploring live coding&amp;rsquo;s&amp;nbsp;historic precedents, and as a contribution toward situating live coding within a broader historical, cultural&amp;nbsp;context.&lt;/p&gt;</dct:description>
    <dct:accessRights rdf:resource="http://publications.europa.eu/resource/authority/access-right/PUBLIC"/>
    <dct:accessRights>
      <dct:RightsStatement rdf:about="info:eu-repo/semantics/openAccess">
        <rdfs:label>Open Access</rdfs:label>
      </dct:RightsStatement>
    </dct:accessRights>
    <dcat:distribution>
      <dcat:Distribution>
        <dct:rights>
          <dct:RightsStatement rdf:about="https://creativecommons.org/licenses/by/4.0/legalcode">
            <rdfs:label>Creative Commons Attribution 4.0 International</rdfs:label>
          </dct:RightsStatement>
        </dct:rights>
        <dcat:accessURL rdf:resource="https://doi.org/10.5281/zenodo.19319"/>
      </dcat:Distribution>
    </dcat:distribution>
  </rdf:Description>
</rdf:RDF>
90
92
views
downloads
All versions This version
Views 9090
Downloads 9291
Data volume 32.6 MB32.3 MB
Unique views 8888
Unique downloads 8786

Share

Cite as