Freely improvised and non-academic electroacoustic music by urban folks

We discuss history and characteristics of the evolving global networks of anarchic communities of independent experimental musical artists that over the past half century have continued to flourish outside of established cultural institutions and with but incidental, ad hoc, financial funding. As a case-study related to our own practice we give an in-depth look into the International Headphone Festival Le Placard (1998-2013), a series of ephemeral (headphones only) concert-sites and laboratories for (not only) sound art and electronic music, that was highly innovative and influential also in the worlds of academic and commercial music, though, being the result of collective creative efforts, transmitted in (contemporary equivalents of) the fundamentally aural tradition that is typical of artistic folk modes, this is an influence destined to remain anonymous, henceun-credited.

Content

Author and article information

Contributors

Harold Schellinx

Emmanuel Ferrand

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 165-176

Affiliations

[0001]ana-R & IESA

Paris, France

[0002]ana-R & Sorbonne Université

Paris, France

Article

DOI: 10.14236/ewic/RESOUND19.26

SO-VID: b73ccf61-b5cd-457c-9ab8-73819b2e22c3

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology

Conference acronym: RE:SOUND 2019

Conference number: 8

Conference location: Aalborg, Denmark

Conference date: August 20-23, 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Media Art, Science, and Technology

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.26

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

T. Bailey 2012 Unofficial Release. Self-released and handmade audio in post-industrial society Belsona Books
G. Born 1995 Rationalizing Culture. IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde University of California Press
J. Cage 1961 Silence. Lectures & Writings Marion Boyars London
K. Cascone 2002 Laptop Music: Counterfeiting Aura in the Age of Infinite Reproduction. Parachute 107
C. FermontD. della Faille 2016 Not your world music: Noise in South East Asia, politics, identity, gender and global capitalism Syrphe/Hushush
G. Debord 1958 Internationale Situationniste 1 Paris
Q.R. Ghazala 2004 The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut Leonardo Music Journal 14
R. James 1992 Cassette Mythos Autonomedia New York
J-C. Moineau 2012 L’art où l’on ne l’attend pas ? http://j.mp/unpublicmoineau December 7 2019
M. Nyman 1999 Experimental Music. Cage and Beyond Second Cambridge University Press
P. Schaeffer 1977 De la musique concrète à la musique même. La Revue Musicale (303-305) Paris
H. Schellinx 2004 Pure sound injury http://soundinjury.soundblog.net December 7 2019
H. Schellinx 2012 Ultra. Opkomst en ondergang van de Ultramodernen, een unieke Nederlandse muziekstroming (1978-1983) Lebowski Publishers Amsterdam
H. SchellinxE. Ferrand 2009 Az elektroakusztikus improvizáció mint metanyelv és rogzített pont (Electroacoustic improvisation as metalanguage and fixed point (i)) B. Batta Médium Hang Esztétika - Zeneiség a mediális technológiák korában University of Szeged Szeged
C. SienkoS. Underwood 2010 As Loud as Possible. Noise Culture Magazine 1
M. Voorvelt 1998 British Post-Punk Experimental Pop (1977-1983) PhD Thesis University of Leeds

Comments

Comment on this article

[1] T. Bailey 2012 Unofficial Release. Self-released and handmade audio in post-industrial society Belsona Books

[2] G. Born 1995 Rationalizing Culture. IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde University of California Press

[3] J. Cage 1961 Silence. Lectures & Writings Marion Boyars London

[4] K. Cascone 2002 Laptop Music: Counterfeiting Aura in the Age of Infinite Reproduction. Parachute 107

[5] C. FermontD. della Faille 2016 Not your world music: Noise in South East Asia, politics, identity, gender and global capitalism Syrphe/Hushush

[6] G. Debord 1958 Internationale Situationniste 1 Paris

[7] Q.R. Ghazala 2004 The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut Leonardo Music Journal 14

[8] R. James 1992 Cassette Mythos Autonomedia New York

[9] J-C. Moineau 2012 L’art où l’on ne l’attend pas ? http://j.mp/unpublicmoineau December 7 2019

[10] M. Nyman 1999 Experimental Music. Cage and Beyond Second Cambridge University Press

[11] P. Schaeffer 1977 De la musique concrète à la musique même. La Revue Musicale (303-305) Paris

[12] H. Schellinx 2004 Pure sound injury http://soundinjury.soundblog.net December 7 2019

[13] H. Schellinx 2012 Ultra. Opkomst en ondergang van de Ultramodernen, een unieke Nederlandse muziekstroming (1978-1983) Lebowski Publishers Amsterdam

[14] H. SchellinxE. Ferrand 2009 Az elektroakusztikus improvizáció mint metanyelv és rogzített pont (Electroacoustic improvisation as metalanguage and fixed point (i)) B. Batta Médium Hang Esztétika - Zeneiség a mediális technológiák korában University of Szeged Szeged

[15] C. SienkoS. Underwood 2010 As Loud as Possible. Noise Culture Magazine 1

[16] M. Voorvelt 1998 British Post-Punk Experimental Pop (1977-1983) PhD Thesis University of Leeds

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