Electronic Music for Contemporary Classical Performers
Theory and Practice
Electronic Music for Contemporary Classical Performers - Theory and Practice is the educational portion of the Electronic Integration Project as it stands today. The document desperately needs revision and expansion, but I feel that letting it rot on my hard drive is worse than an imperfect product.
The document is split into two parts.
Theory primarily concerns itself with electronic performance practice, outlining a methodology for identifying and executing different types of electronic music. Other topics include a baseline history of electronic music making as it pertains to contemporary classical circles and an exploration of Pierre Schaeffer’s reduced listening model through the practical lens of the performer.
Practice acts as a beginner’s guide to performing music with electronic elements from a top down perspective: rather than learning electronic tools from the ground up, this section teaches these tools from the performer’s perspective, only concerning itself with the information necessary to perform a given work. This section includes basic technical instructions on electronic music tools including Max/MSP, SuperCollider, a variety of DAW’s, and amplification systems. Practice will not teach total fluency in any of these systems, but the skills necessary to prepare, rehearse, and perform a piece with electronics.
