Simon Emmerson
Biographic Data
| ID | 1083608 |
|---|---|
| NAME | Simon Emmerson |
| GIVEN NAMES | Simon |
| FAMILY NAME | Emmerson |
| SIGNATURE | EMMERSON S |
| AFFILIATIONS | City, University of London |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Teaching electronic music – journeys through a changing landscape
In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: " ̃learning by doing' as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and…
Emas and Sonic Arts Network (1979-2004): Gender, Governance, Policies, Practice
This article is based on an examination of the minutes of the Committee/Board and annual general meetings of the Electro-Acoustic Music Association of Great Britain and its successor organisation, Sonic Arts Network, in the period 1979–2004, as well as other supporting documentation. It looks at the ebb and flow of gender constitution. There was a remarkable year or two in the 1990s when gender balance was almost within sight; but then the condit…
A relação da linguagem com os materials
Instead of the traditional and incomplete opposition between concrete and electronic sounds, the author proposes two focal points to analyze electroacoustic music: one is related to the discourse, and the other, to musical syntax. The discourse may vary between the extremes, characterized as aural and mimetic, depending on the degree of reference to events that occur in reality or are related to more abstract musical values. The syntax, in its tu…
The Musical Work: Reality or Invention? Michael Talbot (ed.)
(2002). The Musical Work: Reality or Invention? Michael Talbot (ed.) Journal of New Music Research: Vol. 31, No. 4, pp. 393-398
Electro-acoustic music
Performants (1971)
December 01 2001 Performants (1971) Simon Emmerson Simon Emmerson Music Department, City University, London EC1V OHB, U.K. E-mail: . Search for other works by this author on: This Site Google Scholar Author and Article Information Simon Emmerson Music Department, City University, London EC1V OHB, U.K. E-mail: . Online ISSN: 1531-4812 Print ISSN: 0961-1215 © 2001 ISAST2001 Leonardo Music Journal (2001) 11: 95. https://doi.org/10.1162/lmj.2001.11.9…
The electroacoustic harpsichord
This article examines six works from the repertory for harpsichord and electronics by François-Bernard Mâche, Kaija Saariaho, Roderick de Man, Mike Vaughan, Elsa Justel and Simon Emmerson. The author defines 'local' considerations which seek to extend but not to break the live instrumental presence, while 'field' transformations place these in a landscape or environment. The various possibilities of local and field combinations between the two po…
Acoustic/electroacoustic: The relationship with instruments
The relationship between electroacoustic resources and live instrumental performance has been a difficult one. One of the original aims of ‘tape’ music was to break free from the limitations of Western art performance traditions; yet the instrumentalist has never been far away either as a source for the composer's sound‐world or as claiming a continuing position as resource and medium of expression. This article examines three very different appr…
Live' versus 'real-time
The term ‘live electronic music’ faded slowly but steadily from the vocabulary between about 1975 and 1985, giving way to the (albeit correct) term ‘real-time’. But language cannot so simply obscure a fundamental misunderstanding that has come with this change. The human performer has somehow been subsumed into the computer itself, as into the terminology that goes with it. Since the earliest experiments many have seen the unavoidable problem of …
Live electronic music in Britain: Three Case Studies
I want to use the opportunity of what might at first sight be a historical survey to highlight some of the questions raised by the techniques and approaches used by three live electronic music ensembles based in Britain in the period 1968–1985 (ie. before the current generation of digital synthesizers and signal processors became inexpensively available) which might help reinvigorate contemporary developments in this field. For surely the 1990s w…
Composing strategies and pedagogy
Musical material suggests itself to composers in a variety of ways, many unexpected. But is the way in which a composer comes to particular decisions of importance to the teaching process? This paper examines the ideas of experimentation and testing with respect to research into composition. A model of the learning process is elaborated which seeks to disentangle the self-supporting justifications which grew up in the wake of post-war serial comp…
The Language of Electroacoustic Music
Since the inception of electroacoustic music in 1948, much has been written about technical developments. This book is one of the first to examine aesthetic issues central to this rapidly developing g
Language Electroacoustic Music
Emas and Sonic Arts Network (1979-2004): Gender, Governance, Policies, Practice
This article is based on an examination of the minutes of the Committee/Board and annual general meetings of the Electro-Acoustic Music Association of Great Britain and its successor organisation, Sonic Arts Network, in the period 1979–2004, as well as other supporting documentation. It looks at the ebb and flow of gender constitution. There was a remarkable year or two in the 1990s when gender balance was almost within sight; but then the condit…
Live' versus 'real-time
The term ‘live electronic music’ faded slowly but steadily from the vocabulary between about 1975 and 1985, giving way to the (albeit correct) term ‘real-time’. But language cannot so simply obscure a fundamental misunderstanding that has come with this change. The human performer has somehow been subsumed into the computer itself, as into the terminology that goes with it. Since the earliest experiments many have seen the unavoidable problem of …
Live electronic music in Britain: Three Case Studies
I want to use the opportunity of what might at first sight be a historical survey to highlight some of the questions raised by the techniques and approaches used by three live electronic music ensembles based in Britain in the period 1968–1985 (ie. before the current generation of digital synthesizers and signal processors became inexpensively available) which might help reinvigorate contemporary developments in this field. For surely the 1990s w…
Composing strategies and pedagogy
Musical material suggests itself to composers in a variety of ways, many unexpected. But is the way in which a composer comes to particular decisions of importance to the teaching process? This paper examines the ideas of experimentation and testing with respect to research into composition. A model of the learning process is elaborated which seeks to disentangle the self-supporting justifications which grew up in the wake of post-war serial comp…
The Language of Electroacoustic Music
Since the inception of electroacoustic music in 1948, much has been written about technical developments. This book is one of the first to examine aesthetic issues central to this rapidly developing g
Language Electroacoustic Music
Composing strategies and pedagogy
Musical material suggests itself to composers in a variety of ways, many unexpected. But is the way in which a composer comes to particular decisions of importance to the teaching process? This paper examines the ideas of experimentation and testing with respect to research into composition. A model of the learning process is elaborated which seeks to disentangle the self-supporting justifications which grew up in the wake of post-war serial comp…
Live electronic music in Britain: Three Case Studies
I want to use the opportunity of what might at first sight be a historical survey to highlight some of the questions raised by the techniques and approaches used by three live electronic music ensembles based in Britain in the period 1968–1985 (ie. before the current generation of digital synthesizers and signal processors became inexpensively available) which might help reinvigorate contemporary developments in this field. For surely the 1990s w…
Live' versus 'real-time
The term ‘live electronic music’ faded slowly but steadily from the vocabulary between about 1975 and 1985, giving way to the (albeit correct) term ‘real-time’. But language cannot so simply obscure a fundamental misunderstanding that has come with this change. The human performer has somehow been subsumed into the computer itself, as into the terminology that goes with it. Since the earliest experiments many have seen the unavoidable problem of …
Acoustic/electroacoustic: The relationship with instruments
The relationship between electroacoustic resources and live instrumental performance has been a difficult one. One of the original aims of ‘tape’ music was to break free from the limitations of Western art performance traditions; yet the instrumentalist has never been far away either as a source for the composer's sound‐world or as claiming a continuing position as resource and medium of expression. This article examines three very different appr…
Electro-acoustic music
Performants (1971)
December 01 2001 Performants (1971) Simon Emmerson Simon Emmerson Music Department, City University, London EC1V OHB, U.K. E-mail: . Search for other works by this author on: This Site Google Scholar Author and Article Information Simon Emmerson Music Department, City University, London EC1V OHB, U.K. E-mail: . Online ISSN: 1531-4812 Print ISSN: 0961-1215 © 2001 ISAST2001 Leonardo Music Journal (2001) 11: 95. https://doi.org/10.1162/lmj.2001.11.9…
The electroacoustic harpsichord
This article examines six works from the repertory for harpsichord and electronics by François-Bernard Mâche, Kaija Saariaho, Roderick de Man, Mike Vaughan, Elsa Justel and Simon Emmerson. The author defines 'local' considerations which seek to extend but not to break the live instrumental presence, while 'field' transformations place these in a landscape or environment. The various possibilities of local and field combinations between the two po…
The Musical Work: Reality or Invention? Michael Talbot (ed.)
(2002). The Musical Work: Reality or Invention? Michael Talbot (ed.) Journal of New Music Research: Vol. 31, No. 4, pp. 393-398
A relação da linguagem com os materials
Instead of the traditional and incomplete opposition between concrete and electronic sounds, the author proposes two focal points to analyze electroacoustic music: one is related to the discourse, and the other, to musical syntax. The discourse may vary between the extremes, characterized as aural and mimetic, depending on the degree of reference to events that occur in reality or are related to more abstract musical values. The syntax, in its tu…
Emas and Sonic Arts Network (1979-2004): Gender, Governance, Policies, Practice
This article is based on an examination of the minutes of the Committee/Board and annual general meetings of the Electro-Acoustic Music Association of Great Britain and its successor organisation, Sonic Arts Network, in the period 1979–2004, as well as other supporting documentation. It looks at the ebb and flow of gender constitution. There was a remarkable year or two in the 1990s when gender balance was almost within sight; but then the condit…
Teaching electronic music – journeys through a changing landscape
In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: " ̃learning by doing' as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and…
Computer Science (11 works) · Art (10 works) · Visual arts (9 works) · Music Technology and Sound Studies (7 works) · Musical (6 works) · Aesthetics (5 works) · Musicology and Musical Analysis (5 works) · Psychology (5 works) · Philosophy (4 works) · Diverse Musicological Studies (3 works)