Austin, 1991 - Google Patents
Live-electronic music on the third coast: Intercut with a conversation between Austin and Jerry Hunt about living in Texas and their work as composersAustin, 1991
- Document ID
- 13949324769874433971
- Author
- Austin L
- Publication year
- Publication venue
- Contemporary Music Review
External Links
Snippet
The term “third coast” originated in Houston, Texas, in the seventies to describe growing significant activity in the arts in US southern states bordering the Gulf of Mexico. New and live-electronic music thrives as well in the inland cities of San Antonio, Austin, the Dallas/Ft …
- 230000000694 effects 0 abstract description 9
Classifications
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B5/00—Electrically-operated educational appliances
- G09B5/06—Electrically-operated educational appliances with both visual and audible presentation of the material to be studied
- G09B5/065—Combinations of audio and video presentations, e.g. videotapes, videodiscs, television systems
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0008—Associated control or indicating means
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/36—Accompaniment arrangements
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
- G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
- G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
- G10H2240/281—Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument
- G10H2240/295—Packet switched network, e.g. token ring
- G10H2240/305—Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B5/00—Electrically-operated educational appliances
- G09B5/04—Electrically-operated educational appliances with audible presentation of the material to be studied
-
- G—PHYSICS
- G11—INFORMATION STORAGE
- G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
- G11B27/00—Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel
- G11B27/10—Indexing; Addressing; Timing or synchronising; Measuring tape travel
- G11B27/102—Programmed access in sequence to addressed parts of tracks of operating record carriers
- G11B27/105—Programmed access in sequence to addressed parts of tracks of operating record carriers of operating discs
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
- G10H2250/315—Sound category-dependent sound synthesis processes [Gensound] for musical use; Sound category-specific synthesis-controlling parameters or control means therefor
- G10H2250/365—Gensound applause, e.g. handclapping; Cheering; Booing
Similar Documents
Publication | Publication Date | Title |
---|---|---|
Byrne | How music works | |
Neumeyer | Meaning and interpretation of music in cinema | |
Cooke | A history of film music | |
Salzman et al. | The new music theater: seeing the voice, hearing the body | |
Abel et al. | The sounds of early cinema | |
Duckworth | Virtual music: How the web got wired for sound | |
Auner | ‘Sing it for me’: Posthuman ventriloquism in recent popular music | |
Luko | Sonatas, screams, and silence: Music and sound in the films of Ingmar Bergman | |
Zurbrugg | Art, performance, media: 31 interviews | |
Bennett | Theory for theatre studies: Sound | |
Kennedy | Strange brew: Metaphors of magic and science in rock music | |
Reddell | The Sound of Things to Come: An Audible History of the Science Fiction Film | |
Swedien | Make mine music | |
Lucier | Eight lectures on experimental music | |
Sheppard | Cinematic realism, reflexivity and the American ‘Madame Butterfly’narratives | |
Austin | Live-electronic music on the third coast: Intercut with a conversation between Austin and Jerry Hunt about living in Texas and their work as composers | |
Montanaro | A singer's guide to performing works for voice and electronics | |
Milian | Intermedial Modernism: Music, Dance, and Sound | |
Ale | Tracing Experimental Textures and Timbres in Horror Cinema: A Closer Look at William Friedkin’s The Exorcist, Stanley Kubrick’s The Shining, and Martin Scorsese’s Shutter Island | |
Bazika | Forman's Amadeus and the Role of Music in Film Narrative | |
Lebedev | Animation and Sound | |
Priest | Sound Theaters of the 21st Century: Material Functions and Voltaic Performativities | |
von Xylander | Premiering a Mediaopera. On-Site. Online. | |
Wilkins | The instrument in space: The embodiment of music in the machine age | |
Engelbrecht | Sound art: space, time & Johannesburg |