- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
Electronica is a term that appeared in the later 1990s as a descriptor for divergent electronic dance musics (EDMs) and their abstractions. This article aims to engage not only with digital culture in general but also with its necessarily analog roots and the continued existence of hybrid signal chains. Its remit is to concentrate on the age from the founding of the musical instrument digital interface standard (1983), and this coincides with the proliferation of digital equipment, the rise of EDM, and then its multiply fractured and fast breeding offshoots. There are also parallel adventures in digital art, noise music, video jockeying (VJing), live electronics, and a host of other movements touching on the electric and the programmable. Much of the technology itself is available to all, however, and many electronic musics have crossed over into mass appeal, from EDM to the more abstract electronica freely employed in technology commercials.
Nick Collins is a composer, performer and researcher who lectures at the University of Sussex. His research interests include machine listening, interactive and generative music, and musical creativity. He co-edited the Cambridge Companion to Electronic Music (Cambridge University Press 2007) and The SuperCollider Book (MIT Press, 2011) and wrote the Introduction to Computer Music (Wiley 2009). Sometimes, he writes in the third person about himself, but is trying to give it up. Further details, including publications, music, code and more, are available from http://www.sussex.ac.uk/Users/nc81/index.html
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