Edited By Flocel Sabaté
Global Ecumene, Electroacustic Music and “Other” Music
← 212 | 213 → Global Ecumene, Electroacoustic Music and “Other” Music
Università degli Studi di Pavia
For a long time now, musical identity no longer refers simply one-dimensionally to a single region. In the area of music, increasing multipolar orientations create a con-tinuous deconstruction of concepts of culture and identity. The local and the region, the national and the global have become interconnected in the cultural process of tradition to a “glocal” network.
Max Peter Baumann*
In this text I intend to present an ongoing study on contemporary composers of electroacoustic music as a “community of practice” and in particular on their encounter with music that is not euro-cultured. This satisfies both topics covered in the Identitats Híbrides conference for which this text was conceived, because on the one hand composers of electroacoustic music define themselves as a virtual community with a precise identity, and because on the other hand the encounter between electroacoustic music and music that is not euro-cultured can produce hybridization. I will not make any conclusions, because this is a new and quite dense field of investigation. To date there is no widely accepted method of analysis, also because electroacoustic music compositions are extremely diverse and varied. Furthermore, this specific field of study requires the identification of a specific method, which I am elaborating as I proceed with the analyses.
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