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In the introduction to Expanding the Horizon of Electroacoustic Music Analysis Leigh Landy and Simon Emmerson observe that “...there remains a legacy of ‘absolute music’ which persists in some genres [of electroacoustic music] – those that claim a ‘high art’ heritage usually” (21). In this paper I examine this legacy by reassessing the status of the work-concept in electroacoustic music studies. Adam Stanovi\u0107 covered similar territory in his recent article Beyond the Fixity Fallacy; I aim to provide a slightly different perspective, based on Lydia Goehr’s “historical approach” as described in The Imaginary Museum of Musical Works. I will begin by exploring the core ideals that support the work-concept, and to what extent they remain operative in contemporary acousmatic music practice. Assuming that the ways in which contemporary acousmatic music is composed, performed, and listened to, differ substantially from instrumental concert music of the early 19th century, I hope to highlight aspects of acousmatic music culture and practice that have escaped attention and potentially deserve further study. Unlike Stanovi\u0107 I do not propose a rethinking of, or an alternative to the work- concept; rather, I suggest that acousmatic music demands a different way of thinking about the relations between composers, performers, and listeners, and I believe that the beginnings of a new approach can be found in Roland Barthes’ essay From Work to Text. My discussion is limited to acousmatic music, where the “legacy of absolute music” and trappings of early 19th century concert culture are perhaps most evident, though I hope that some aspects of the discussion are relevant to other forms of electroacoustic music. Two case studies, Louise Rossiter’s Neuronen and Panayiotis Kokoras’ AI Phantasy, serve to illustrate how some of the conflicts between the work-concept and acousmatic music play out at a compositional level.
", "languages": [ { "id": "eng", "title": { "en": "English" } } ], "publication_date": "2021-12-27", "publisher": "Zenodo", "related_identifiers": [ { "identifier": "978-2-9572144-2-6", "relation_type": { "id": "isreferencedby", "title": { "de": "Wird referenziert von", "en": "Is referenced by" } }, "resource_type": { "id": "publication-conferencepaper", "title": { "de": "Konferenzbeitrag", "en": "Conference paper" } }, "scheme": "isbn" } ], "resource_type": { "id": "publication-conferencepaper", "title": { "de": "Konferenzbeitrag", "en": "Conference paper" } }, "rights": [ { "description": { "en": "The Creative Commons Attribution license allows re-distribution and re-use of a licensed work on the condition that the creator is appropriately credited." }, "icon": "cc-by-icon", "id": "cc-by-4.0", "props": { "scheme": "spdx", "url": "https://creativecommons.org/licenses/by/4.0/legalcode" }, "title": { "en": "Creative Commons Attribution 4.0 International" } } ], "title": "A Listening Art" }, "parent": { "access": { "owned_by": { "user": 94221 } }, "communities": { "default": "a62ede86-77d3-4077-bbc7-3b9f8c319c30", "entries": [ { "access": { "member_policy": "open", "members_visibility": "public", "record_policy": "open", "review_policy": "open", "visibility": "public" }, "children": { "allow": false }, "created": "2020-03-12T08:36:37.403779+00:00", "custom_fields": {}, "deletion_status": { "is_deleted": false, "status": "P" }, "id": "a62ede86-77d3-4077-bbc7-3b9f8c319c30", "links": {}, "metadata": { "curation_policy": "The original plan was to hold an event every other year, the second of which was held in Montreal hosted collaboratively by Concordia, McGill and Montréal Universities in 2005 called EMS05. The name, EMS, was launched by way of this conference and the event is now an annual one.
\r\n\r\nAs of 2006 EMS Network has become a formal entity as an international association with an [Executive Board and an Honorary President]. It has also decided to create a community of interested people through its planned membership scheme. EMS Network is also considering set up a list for discussion within its subject areas with members of the community. It is responsible for the publication of its conference content. In 2006, as part of its future plans, thanks to a collaboration with ISAST (International Society for the Arts, Sciences and technology) and OLATS (Observatoire Leonardo des Arts et Technosciences), a Leonardo-EMS prize was given to a selected communication of a researcher under 35 years of age for publication of the paper in Leonardo (The MIT Press).
\r\n", "page": "MS Network was initiated when Marc Battier (MINT/IREMUS/EMSAN - Institute of Research in Musicology and Univ. Paris-Sorbonne) and Leigh Landy (MTI Research Centre - De Montfort Univ.) both felt that a recognised platform for sharing scholarship in this field was missing. The creation of a bilingual conference platform specifically focused on relevant areas seemed to be the logical first step towards resolving this issue. They proposed a meeting that became part of IRCAM’s Résonances activities in 2003 entitled “Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools” which was to become the first EMS Network event, be it prior to EMS being launched. Subsequent to this event, they were joined by Daniel Teruggi (INA/GRM) who was to become the third Executive Director of EMS.
\r\n\r\nEMS Network has been organised to fill an important gap in terms of electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word, ‘network’ is of fundamental importance as one of our goals is to make relevant initiatives more widely available.
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