麻豆社

In the 21st-century electronics have become part of the language of classical music in complex ways. Works for string ensemble are devised to emulate the dance floor while purely electronic sample libraries are being used for orchestral arrangements in the film world. Electronic sound is completely enmeshed in both our understanding of music and in contemporary methods of music making. What does this mean for composition?

We hear 鈥楨cstasio鈥�, the third movement from contemporary composer Thomas Ad猫s鈥檚 piece Assyla, which references techno without using any electronics at all. And Gabriel demonstrates how his own classical works have been heavily influenced by electronic music, often using acoustic instruments to imitate the bass lines and melodic phrasing from dance music.

Electronic artists can struggle to translate their studio productions into live performance. We explore some of the current composers and artists using innovative performance ideas to get around the challenges of performing electronics live, including Mexican composer Javier 脕lvarez and Congolese group KOKOKO! Finally we look to the future with work that explores the boundaries between human and machine composition with artists Holly Herndon and Jennifer Walshe, who are using machine learning as a creative partner within their work.

Produced by Alannah Chance
A Reduced Listening production for 麻豆社 Radio 3