Contemporary Instruments: Notes from a Bricoluthier

2015, Ken Butler

Given the constant output of large variety of sonic devices from contemporary technology, an important distinction in characterizing a contemporary musical instrument, in my mind, is the clarification of the overlap and characteristics of an “instrument” for making music and a “controller” for making sounds. Continue reading

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Dafna Naphtali in concert at Skolska, Prague , Nov. 2010

What if your instrument is invisible?

2014, Dafna Naphtali

As an electronic musician, I am largely occupied with capturing and manipulation of sound in real time — the sound of instruments being played by other musicians. I am also a vocalist, and often my instrument(s) are perceived as being “invisible”.

Real-time live sound processing“, “audio machinations”, “{kaleid-o-phone}” – are all terms I’ve used to describe what I do, since I first started in the mid-90’s, dragging a 
Mac-plus computer and MIDI controllable effects units to clubs and venues, lots of equipment so that I could experiment, and find a way to play sound manipulations in a musically reactive way, especially in improvised contexts.

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Experimentalism

2014, Gina Emerson

The term ‘experimental’ appears frequently in new music discourse but is rarely clearly defined. Applied to the practice of designing contemporary musical instruments, experimentalism can be seen to manifest itself in two central ways:
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