Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-19T04:30:52.605Z Has data issue: false hasContentIssue false

13 - Artists’ Perspectives Experimental and Electronic Music in Australia

from Part III - Diversities

Published online by Cambridge University Press:  14 November 2024

Amanda Harris
Affiliation:
University of Sydney
Clint Bracknell
Affiliation:
University of Western Australia
Get access

Summary

Written from the perspective of two people currently involved in experimental and electronic music in Australia, this chapter provides an overview of some of the key movements and works in the genre, from the twentieth century to the present day. Focusing primarily on music that exploits technology and experimental approaches that progress innovation in art music contexts, it highlights some of the diverse practitioners – performers, composers, improvisers, sound artists, and instrument makers – who have pushed the boundaries of what is possible, often blurring the lines between art forms in the process. While it is unable to provide an exhaustive historical or contemporary account of the innovations that have been achieved here, or those responsible, the selected representative survey should serve to contextualise Australia’s contributions to electronic and experimental music, demonstrating our reputation for presenting ‘mavericks’ to the music world.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

Bandt, R., Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks (Sydney: Craftsman House, 2001).Google Scholar
Fox, R., ‘Experimental Music in Melbourne: A Definition and Historical Overview’, Context: Journal Music Research, 24 (2002), 15–32.Google Scholar
Hope, C., ‘Electronic Scores for Music: The Possibilities of Animated Notation’, Computer Music Journal, 41(3) (2017), 21–35.CrossRefGoogle Scholar
Kouvaras, L. I., Loading the Silence: Australian Sound Art in the Post-Digital Age (Abingdon and New York: Routledge, 2016).CrossRefGoogle Scholar
Linz, R., ‘NMA Publications’, Rainer Linz, www.rainerlinz.net/NMA/index.html, accessed 18 January 2023.Google Scholar
Priest, G. (ed.), Experimental Music: Audio Explorations in Australia (Sydney: UNSW Press, 2009).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×