에이펙스 트윈의 곡에서 나타난 샘플을 이용한 전자 음악 사운드 제작 기법 연구

류재학 대중음악콘텐츠학회 2017 대중음악콘텐츠 Vol.1 No.1

에이펙스 트윈은 컴퓨터 기반의 전자음악 아티스트로, 각각 특성이 다양한 앨범을 발표하는 동안 샘플을 이용하여 원본과 다른 느낌의 음향효과를 표현하려는 실험적인 시도가 두드러졌다. 본 연구에서는 ‘Windowlicker’ 및 ‘AFX237 V7’에서 나타난 샘플의 여러 기법들을 이용한 표 현 기법 및 음향효과를 분석하고 자작곡에서 적용하였다. 더 나아가 웨이브테이블 신세시스와 노이즈 LFO를 이용한 비주기적 비브라토 및 트레몰로를 표현하여 샘플을 이용해 표현할 수 있는 실험적 기법을 제시했다. 이 연구를 통해 샘플은 그 종류 및 기법에 따라 다양한 효과로 변화할 수 있음을 확인하였고, 표현 방법의 범위 또한 넓어질 수 있음을 확인했다. Aphex twin is an artist with computer-based electronic music, has presented the experimental techniques by use of samples to different senses. This study is analyzed several techniques about using sample in the following two songs : 'Windowlicker' and 'AFX 237 V7.' Then this techniques was applied on self-composed songs, and then it was included other elements such as wave-table synthesis, non-periodic tremolo and vibrato to suggest the experimental techniques about editing sample. In this study, it learned that sample can be changed not only depending on the type or techniques, but also the way to express can be variously.

Compositional Structure and Functional Analysis of ‘Globalalia’

Berk Yagli(버크 야글리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding Globalalia, the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.

PROCESSING “REPRESENTATIVE CHARGE”: EMBODIED LISTENING AND LUCIANO BERIO’S VISAGE

Jasmine Thomasian(재스민 토마시안) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Literature on electroacoustic music has tended to focus primarily on the mental processes of creating and listening to the genre, reinforcing an Enlightenment-era mind/body dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.

The Art and Science of Multichannel Audio in Electroacoustic Music: A Review

알리 발리기 한국전자음악협회 2024 에밀레 Vol.22 No.-

This article follows the historical and technological evolution of multichannel audio in electroacoustic music, from its origins in the 1950s with pioneers like Pierre Schaeffer to its present role as a central element in music composition and performance. It examines key advancements in spatialization techniques, including surround sound, ambisonics, and site-specific diffusion systems, highlighting their impact on spatial perception, listener envelopment, and auditory aesthetics. The discussion integrates insights into the creative and technical challenges of multichannel composition, emphasizing its capacity to enhance spatial imagery, evoke emotional responses, and redefine performance practices. By exploring emerging technologies such as augmented reality, machine learning, and networked audio systems, the article offers a comprehensive view of multichannel audio's transformative role in shaping contemporary electroacoustic music and its future possibilities.

To mix or not to mix: unifying the creative process in composing for instruments and electronics

Laurie Radford(로리 래드퍼드) 한국전자음악협회 2023 에밀레 Vol.21 No.-

The design and composition of music and sound art performance that involves instruments in combination with a variety of electronic components demands a diverse and extensive skill and knowledge set. Pedagogical approaches that guide young practitioners in the creation of “mixed music” composition confront the challenge of striving to equip the composer with the necessary skills and experience drawn from many diverse practices and technologies, some of which are rarely considered in conventional pedagogical contexts. Categories of mixed music, mixed music studies, pedagogical approaches to the teaching of mixed music, and the skills and roles involved in mixed music production are discussed. The objective is to provide a global overview and consideration of the issues involved in teaching, learning and creating mixed music.

Jonathan Harvey’s Mortuos Plango, Vivos Voco: The Electronic Sacred

Carlotta Ferrari(카를로타 페라리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Jonathan Harvey’s 1980 electroacoustic piece Mortuos plango, vivos voco features compositional strategies with a strong mystical side. Its dualism of life/death elements, both linked to different sound materials (voice and bell respectively), encourages a meditation that involves the listener’s inner dimension, thus providing the basis for a re-humanization of electronic music.

심포지엄: 현대 음악의 미학적 과제 : 현대음악과 영상(映像)의 문제

윤신향 ( Shin Hyang Yun ) 한국미학예술학회 2009 미학예술학연구 Vol.29 No.-

Modes of Acting: mismatches and collective intention during improvisation

David DeFilippo(데이빗 드필리포) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Processes of auditory-motor co-representation in musical consciousness are described in relation to the neurological processes of Mismatch Negativity (MMN) and mirror neurons (MN). MMN has been detected as a part of auditory perception that discriminates for musical variants based on previous experience and will be used as a basis to suggest how unconventional sounds in electro-acoustic music are systematized. Mirror neurons in the motor cortex are shown empirically to simulate the goal-directed actions of others using tools, or in this case musical objects. Due to mirroring effects, in conjunction with ideomotor theory, intentions of individual improvisers in an electro-acoustic ensemble can break free from their unitary coherence and form into larger complexes, known as a collective intention. Bridging from the well researched concept of listening modes, acting modes will be proposed here and used to describe interpersonal dynamics during improvisation.

Otto Laske and the Visualization of Electro‐Acoustic Music: Laske’s Visual Music Animations

Nico Schuler(니코 쉴러) 한국전자음악협회 2020 에밀레 Vol.18 No.-

Otto Laske (b. 1936), a pioneer of computer music and the founder of “Cognitive Musicology” (which roots in such disciplines as musicology, philosophy, computer science, psychology, linguistics, semiotics, and sociology), combined his research with his artistic activities: initially composition and writing of poetry, later also digital art. This paper provides some biographical, artistic, and research background of Laske’s theories to explain his electro‐acoustic music (1966‐2009) and his artistic fulfillment in the visualization of his electro‐acoustic music (2011‐2012). For these animations, individual frames became the ‘negatives’, on which he bases his work in the visual arts. This art is musically inspired throughout, with a focus on flow, tension, conflict, and movement. In his visualizations, animation ‘objects’ carry visual images or even a sequence of images, and while the images move against and through each other, their colors, shapes, and textures follow the flow of the music. Laske treats an animation still as the visualization of a set of pixel‐level parameters that define the shapes, colors, textures, and dynamic characteristics of an image. Working with Cinema 4D, Studio Artist, and Photoshop, Laske’s work is highly creative. Several of Laske’s Visualizations are being explored and holistically viewed within the framework of his lifework.