Introducing Tacem and the Tiaals Software

This paper introduces the TaCEM project (Technology and Creativity in Electroacoustic Music), funded for 30 months by the Arts and Humanities Research Council in the UK, investigating the relationship between technological innovation and creative practice in electroacoustic music of the last 40 years (http://www.hud.ac.uk/research/researchcentres/tacem/). It is a collaborative project between the universities of Huddersfield and Durham in the UK and outputs from the project will include a book and freely available interactive software. This paper explains the context for the project and its goals, and discusses some of the generic software that is being developed as part of the project, intended not only for use in the project itself but also to be freely available for others to use in the study of any electroacoustic work as appropriate.

[1]  Michael Clarke Wind Chimes: An Interactive Aural Analysis , 2010 .

[2]  Peter Manning,et al.  The influence of technology on the composition of Stockhausen's Octophonie , with particular reference to the issues of spatialisation in a three-dimensional listening environment , 2008 .

[3]  James D. Wagoner,et al.  Analog Electronic Music Techniques: In Tape, Electronic, and Voltage-Controlled Synthesizer Studios , 1986 .

[4]  Peter Manning Ownership and Control of the Creative Process in the Composition and Performance of Electroacoustic Music , 1999, Leonardo Music Journal.

[5]  Thom Holmes,et al.  Electronic and Experimental Music: Technology, Music, and Culture , 1985 .

[6]  M. Clarke,et al.  Jonathan Harvey’s ‘Mortuos Plango, Vivos Voco.’ , 2006 .

[7]  Jean-François Charles,et al.  A Tutorial on Spectral Sound Processing Using Max/MSP and Jitter , 2008, Computer Music Journal.

[8]  Marc Battier,et al.  A Constructivist approach to the analysis of electronic music and audio art – between instruments and faktura , 2003, Organised Sound.

[9]  Fredrick Geissler,et al.  The development and practice of electronic music , 1975 .

[10]  Peter Manning The oramics machine: From vision to reality , 2012 .

[11]  Olivier Baudouin A Reconstruction of Stria , 2007, Computer Music Journal.

[12]  Miller S. Puckette,et al.  The Theory and Technique of Electronic Music , 2007 .

[13]  Michael Clarke Analysing Electroacoustic Music: an Interactive Aural Approach , 2012 .

[14]  Frédéric Dufeu,et al.  L'instrument numérique comme objet d'analyse des musiques mixtes , 2010 .

[15]  John Dack Electroacoustic music: analytical perspectives , 2004 .

[16]  Curtis Roads,et al.  The Computer Music Tutorial , 1996 .

[17]  Lelio Camilleri,et al.  The analysis of electroacoustic music: Introduction , 1998 .

[18]  Peter Manning,et al.  The significance of techné in understanding the art and practice of electroacoustic composition , 2006, Organised Sound.