
Contents
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1. Electronic Dance Music and Its Abstractions 1. Electronic Dance Music and Its Abstractions
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2. Musicians' Relationship with Technology 2. Musicians' Relationship with Technology
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A. Sampling and Copyright A. Sampling and Copyright
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B. Glitch (Only Mistakes Are Original) and Microsound (Lost in Close-up) B. Glitch (Only Mistakes Are Original) and Microsound (Lost in Close-up)
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3. From Sound Art to Digital Art 3. From Sound Art to Digital Art
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4. Overload 4. Overload
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5. Live Electronica 5. Live Electronica
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6. Conclusion 6. Conclusion
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Notes Notes
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Bibliography Bibliography
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17 Electronica
Get accessNick 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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Published:18 September 2012
Cite
Abstract
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.
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