{"id":209,"date":"2015-10-05T14:27:55","date_gmt":"2015-10-05T12:27:55","guid":{"rendered":"http:\/\/kvidal.no\/wp\/?p=209"},"modified":"2016-09-13T14:29:58","modified_gmt":"2016-09-13T12:29:58","slug":"forloperne-til-live-electronics-the-godfathers-of-live-electronics","status":"publish","type":"post","link":"https:\/\/kvidal.no\/wp\/forloperne-til-live-electronics-the-godfathers-of-live-electronics\/","title":{"rendered":"Forl\u00f8perne til Live Electronics: \u00abthe godfathers of live electronics\u00bb"},"content":{"rendered":"

Disse forl\u00f8perne etablerte mye av det kunstteoretiske tankegodset som Live Electronics i dag baseres p\u00e5. Mye av teknologien som ble utviklet og anvendt la\u00a0f\u00f8ringer for den moderne teknologiens muligheter, virkem\u00e5te\u00a0og kunstneriske anvendelse.<\/p>\n

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Ferruccio Busoni<\/h2>\n
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Portrait of Ferruccio Busoni, 1916
\nby Umberto Boccioni<\/a>
\nGalleria Nazionale d’Arte Moderna<\/a>, Rome<\/p>\n<\/div>\n

Futuristen Ferruccio Busoni<\/a>\u00a0(1866-1924), italiensk, 1907: Sketches of new Aesthetic of Music<\/a>: lamenting the traditional music \u00ablawgivers\u00bb, and predicting a future music that included the division of the octave into more than the traditional 12 degrees. His philosophy that \u00abMusic was born free; and to win freedom is its destiny,\u00bb greatly influenced his students Percy Grainger and Edgard Var\u00e8se, both of whom played significant roles in the 20th century opening of music to all sound. (Ref:\u00a0https:\/\/en.wikipedia.org\/wiki\/Ferruccio_Busoni)<\/p>\n

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Musique concrete og Pierre Schaffer<\/h2>\n
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Pierre Schaeffer<\/p>\n<\/div>\n

Musique concr\u00e8te<\/a> (French pronunciation: [myzik k\u0254\u0303.k\u0281\u025bt], meaning \u00abconcrete music\u00bb) is a form of electroacoustic music that is made in part from acousmatic sound. It can feature sounds derived from recordings of musical instruments, voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Also, compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. Originally contrasted with \u00abpure\u00bb elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concr\u00e8te as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. (Ref:\u00a0https:\/\/en.wikipedia.org\/wiki\/Musique_concr%C3%A8te)<\/p>\n

Utgangspunkt i konkret lyd. Klangbehandling og prosessering av lyd. Noen ganger omtalt som \u00abPariserskolen<\/a>\u00bb selv om det er en betegnelse som oftere og vanligvis benyttes om ulike moderne kunstretninger som hadde sitt sentrum i Paris i f\u00f8rste halvdel av 1900 tallet.<\/p>\n

Et ofte brukt eksempel p\u00e5 musique concrete er det f\u00f8lgende; Etude aux chemins de fer» fra 1948, som er basert p\u00e5 lydopptak av tog.<\/p>\n