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Article

Hugh Davies

revised by Anne Beetem Acker

[Elektronmusikstudion] (Swed.: ‘electronic music studio’)

The Swedish national centre for electronic music and sound art, in Stockholm. It was preceded by a smaller studio run by the Worker’s Society of Education from 1960. EMS was established by Swedish Radio in 1964 under music director and composer Karl Birger Blomdahl (1916–68), who hired the composer and performer Knut Wiggen (b 1927) to take charge of creating the studios. In 1965 an old radio theatre studio called the klangverstan (‘sound workshop’) opened for composers. Construction of a new facility was begun, but after Blomdahl’s death EMS became independent, funded only in small part by Swedish Radio, and otherwise by Fylkingen (a society for experimental music and arts) and the Swedish Royal Academy of Music.

Wiggen envisioned EMS as both a place to produce electro-acoustic music and a research institution that would give the composer ‘the possibility of describing sounds in psychological terms’. The studio was equipped accordingly. The sound sculpture ...

Article

Jason Freeman and Frank Clark

[GTCMT]

Interdisciplinary research centre for music, computing, engineering, design, and business, founded in 2008 at the Georgia Institute of Technology in Atlanta. The Center focuses on the development and deployment of transformative musical technologies, and emphasizes the impact of music technology research on scholarship, industry, and culture. In 2012 the Center had 23 faculty members.

Numerous projects have involved the development of new musical instruments, particularly mobile instruments for smartphone devices; robotic musicians that can listen to and collaborate with human performers; and novel instruments and interfaces designed for health and educational applications. GTCMT research projects have received many grants, mostly from the National Science Foundation. Two spinoff companies, ZooZ Mobile and Khush, have commercialized research results to produce mobile music creation applications.

Though the GTCMT does not have a direct educational mission, it collaborates closely with the university’s School of Music, and several of its faculty members teach courses and advise students in Georgia Tech’s Master of Science and Ph.D. programmes in music technology. The GTCMT presents concerts featuring new instruments, and related events, notably the annual Margaret Guthman Musical Instrument Competition, co-sponsored since ...

Article

Anne Beetem Acker

Interactive computer network used as an extended musical instrument, played by a San Franciso Bay–area experimental computer network band also called The Hub. The band, founded in 1985 by Tim Perkis and John Bischoff, evolved from the League of Automatic Music Composers (1978–83). The concept of The Hub is to create live music resulting from the unpredictable behaviour of the interconnected computer system. The composer/performers consider their performances a type of ‘enhanced improvisation’.

Initially The Hub provided a custom-built central ‘mailbox’ computer and made use of a MIDI network providing communication between the composer/performers’ synthesizers. With the maturation of commercial MIDI equipment, the band shifted to using the Opcode Studio V multiport MIDI interface for their hub. Since MIDI is designed to allow one player or computer to control a group of synthesizers but not to allow a network of synthesizers to interact, band member Scot Gresham-Lancaster devised a way to program the system so the Opcode Studio V could route messages among all the synthesizers in the network....

Article

Ian Mikyska

Composers’ collective and ensemble founded in Prague in 2002. Over the years, the organizing team has included a number of composers and instrumentalists, with the remaining core today being Tomáš Pálka[1], Michaela Plachká, and Ondřej Štochl[2].

Their programming includes canonical composers of the 20th century as well as younger artists. They hold a call for scores each year, and have presented a number of works by Czech composers of older generations (kopelent, slavický, smolka). Despite a general tendency towards quiet and contemplative aesthetics, they have also performed music by composers of the so-called New Complexity and from more standard post-avant-garde traditions, always with a view to creating a dynamic and compact programme.

Konvergence often collaborates with other ensembles on combined programmes with an unusually well thought out dramaturgy. Over the years, they have worked with ensembles such as Platypus, Adapter, the Fama Quartet, le concert impromptu, the Isang Yun Trio, and the Quasars Ensemble....

Article

Ian Mikyska

A biannual festival of new and experimental music held in Ostrava, Czech Republic, since 2001, founded by petr kotík and Renata Spisarová.

The performers include guest ensembles and soloists, as well as a core of both international and Czech soloists specializing in contemporary music, who coalesce into the resident ensemble, Ostravská banda. Since its conception, the festival has established strong relations with other local arts organizations, including Bludný Kámen, the National Moravian-Silesian Theater, the Janáček Philharmonic, the Canticum Ostrava choir, and, more recently, the PLATO art gallery and the multi-arts space Provoz Hlubina. The festival also features dance and opera, as well as performance, multimedia, and installation work.

The 9-day festival at the end of August is the finale of a three-week-long ‘Institute’ for aspiring composers from around the world. Some ten established composers are invited as instructors for master classes, lectures, workshops, and one-to-one lessons at the Institute. The festival then features music by the invited composers, as well as one piece by each of the 35 composer-students....

Article

Ian Mikyska

International ensemble based in Ostrava, Czech Republic. Founded in 2005 by petr kotík, originally in order to serve as the resident chamber orchestra for the Ostrava Days festival. It is dedicated to performing contemporary music, both by classics of the European avant-garde (Stockhausen, Ligeti, Xenakis, Nono) and American experimentalism (Cage, Feldman, Lucier), and by contemporary composers from around the world (Lang, Murail, Mincek), including a focus on young Czech composers (srnka, Kadeřábek, Bakla, Cígler). It has served as the resident ensemble for New Opera Days Ostrava since the festival's foundation in 2012.

In addition, the ensemble has performed at major festivals in the Czech Republic (Prague Spring, Janáček's May, MusicOlomouc) and abroad (Huddersfield Contemporary Music Festival, Beyond Cage), as well as on international tours and at concert venues including the Akademie der Künste (Berlin), Vredenburg (Utrecht), Lincoln Center (New York), and the WDR (Cologne).

Its core instrumentation of 24 players can adapt to the demands of each project, including combinations with other ensembles, most often the Janáček Philharmonic Orchestra, with whom the Banda has performed several concerts of music for three orchestras....

Article

Albin Zak

A person engaged primarily with the technological and acoustic aspects of sound recording. Engineers are charged with rendering musical events in an electronic form according with the event’s musical style and tradition. As such, they contribute a blend of technological and musical knowledge unique among a recording team’s members. As sound waves are converted into electricity and begin their journey along the electrical signal path, arriving finally at the listener’s ear, the engineer’s controlling hand and sensibility guide the way at nearly every step.

Historically speaking, engineers pursued an ideal of transparent representation, seeking to silence artifacts of the recording process and providing listeners with an impression of fidelity to the musical event. There was to be “no intrusion that is apparent on the part of the engineer,” averred Capitol Records engineer Carson Taylor. “He has to be a truly transparent entity.” On one hand, technological developments fed this aspiration to sonic realism with such inventions as the microphone and, later, magnetic tape. On the other, the tools of enhanced fidelity also offered greater potential for artifice and electronic intrusion into the acoustic musical moment, which postwar popular music engineers, in particular, took as a tacit mandate to develop techniques of electronic sound manipulation. As they manage the music-technology interface—whether disguising or displaying their skilled artifice—engineers are inevitably thrust into aesthetic roles, their technical craft tempered by subjective intuition....