Defining and evaluating the performance of electronic music

Jenn Kirby*

*Corresponding author for this work

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

This chapter presents suggestions for defining what constitutes a performance in electronic music. I propose the use of the term pseudo-direct causality to illustrate where a performer’s intended action results in the output of an intended sound and although the causality is indirect, it is felt to be direct. I suggest considerations for composers, including gesture and audio-visual syncresis, when composing an electronic work for performance. I present my own gestural mapping designs as examples of methods for creating syncresis and pseudo-direct causality in electronic music instrument design. Parallels are drawn from acoustic music performance and similar evaluative methods are presented in the aim of developing virtuosity in electronic music performance and evaluating performance separately to the composition and the tools.
Original languageEnglish
Title of host publicationInnovation in Music
Subtitle of host publicationPerformance, Production, Technology, and Business
EditorsRuss Hepworth-Sawyer, Jay Hodgson, Justin Paterson, Rob Toulson
Place of PublicationNew York
PublisherRoutledge
Chapter5
Pages77-86
Number of pages10
Edition1st
ISBN (Electronic)9781351016711
ISBN (Print)9781138498211, 9781138498198
Publication statusPublished - 8 Jul 2019

Publication series

NamePerspectives on Music Production
PublisherRoutledge
Number4

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Kirby, J. (2019). Defining and evaluating the performance of electronic music. In R. Hepworth-Sawyer, J. Hodgson, J. Paterson, & R. Toulson (Eds.), Innovation in Music: Performance, Production, Technology, and Business (1st ed., pp. 77-86). (Perspectives on Music Production; No. 4). Routledge. https://www.routledge.com/Innovation-in-Music-Performance-Production-Technology-and-Business/Hepworth-Sawyer-Hodgson-Paterson-Toulson/p/book/9781138498198