EMDOKU - Perhaps A New World For You?

The EMDoku is the world’s largest database of electroacoustic music currently containing 39.702 works of electroacoustic music. It’s truly an amazing resource and has now been given a new search engine and aesthetic update too! If you don’t know this website and are into or interested in listening to electro-acoustic music, the EMDoku is a great way to get stuck into it.

» http://www.emdoku.de/en

Here’s a very brief definition of what electroacoustic music is, taken from the Emdocu website:

Electroacoustic music” (EM) is generally defined as music for at least one loudspeaker or transducer” or music for more than one >loudspeaker”.

At least one person is responsible for the performance of electroacoustic music (tonmeister, mixing engineer, etc.).

So it’s essentially music designed to reveal to the listener, the music within sound itself. A meditation on sound as a self containing musical identity and not necessarily the result of musical interpretation by a performer of a musical instrument.

This is why the second part of the quote references at least one person being responsible for the performance of electroacoustic music”. What makes this clearer is if you think of the performance as a presentation instead. The sound engineer is responsible for the accurate presentation of the sound in any one particular venue, as when we talk about music being within the sound itself, the room acoustics of a venue can therefore be said to alter the music being presented. Therefore, someone needs to be responsible in making sure the music is presented accurately.

The same is true for any live band that you’ve gone to see play live. Somewhere in the dusty back corner of the room, out of sight, is a sound engineer making sure that the band is presented as effectively as possible and therefore sound as good as possible.

If you’re interested in a solid understanding of the topic, the two fundamental reference points for electroacoustic music and its inception, development and future are the schools of thought brought to life by Pierre Schaeffer’s Music Concrète in France and in Germany, Eppler, Beyer and Eimert’s Elektronische Musik made possible with technology available at the WDR Radio Station.


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