Electronics and live performer1/2/2024 In this paper, we investigate the design, implementation and effect on audience experience of visual augmentations with controllable level of detail (LOD). These techniques have however only been designed to offer a fixed level of information, without taking into account the variety of spectators expertise and preferences. ![]() In order to cope with this issue without altering the instruments, researchers and artists have designed techniques to augment their performances with additional information, through audio, haptic or visual modalities. For the same reason however, they may hinder the audience experience, making the musician contribution and expressiveness difficult to perceive. On successfully completing the module students will be able to:ġ) demonstrate a systematic understanding of key principles and processes in designing and executing a live electronic performance informed by the forefront of theĢ) apply a practical knowledge and understanding of the interrelationships between sound and music, and electronics in an interactive context ģ) demonstrate an understanding of technical, creative and usability issues associated with live electronic performance practice Ĥ) create, adapt, edit, and deploy hardware and/or software in a practical performance project.ġ) assimilate different theoretical and aesthetic systems of thought and to relate theory to practice Ģ) synthesize knowledge, and information in order to generate output in written, audio, and practical formats ģ) critically evaluate arguments, assumptions, abstract concepts and data to make judgements and to frame appropriate questions to achieve a solution to a problem Ĥ) examine assumptions, concepts and hypotheses critically in the light of evidence, and make informed choices and apply insights from one area of study to another.Because they break the physical link between gestures and sound, Digital Musical Instruments offer countless opportunities for musical expression. The intended subject specific learning outcomes. See the library reading list for this module (Medway) Learning outcomes Holmes, T (2015) Electronic and Experimental Music: Technology, Music, and Culture. Handmade Electronic Music: The Art of Hardware Hacking. Contemporary Music Review 22(4)Ĭollins, N (2006). (ed.) (2003) The Laptop and Electronic Music. Total Study Hours: 150 Method of assessmentĢ Live Performance with peer critique (7 minutes) 35%īussy, Pascal (2005) Kraftwerk: Man, Machine and Music (3rd Edition). ![]() Students will encounter a vast range of electronics from DIY to high end digital systems, and this module will prepare them for these encounters. Lectures will cover history and case studies, while workshops and lab sessions will cover practical issues of hardware and software design and performance practice. It charts the history of live electronics, through fixed media playback, electronic signal generation and processing, and interactive audio systems for composition and performance, addressing the breadth of live electronics across sound projection, enhancement of acoustic instruments, through hybrid acoustic/electronic instruments, to include a wide range of performance practices. This module balances the history of live electronics with contemporary practical instruction. Since the 1960s, electronic instruments have featured more and more in live performance.
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