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Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments. It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 20th century.
Indigenous music of Australia comprises the music of the Aboriginal and Torres Strait Islander peoples of Australia, intersecting with their cultural and ceremonial observances, through the millennia of their individual and collective histories to the present day. The traditional forms include many aspects of performance and musical instrumentation that are unique to particular regions or Aboriginal Australian groups; and some elements of musical tradition are common or widespread through much of the Australian continent, and even beyond. The music of the Torres Strait Islanders is related to that of adjacent parts of New Guinea. Music is a vital part of Indigenous Australians' cultural maintenance.
David Chesworth is an Australian-based interdisciplinary artist, composer and sound designer. Known for his experimental, and at times, minimalist music, he has worked solo, in post-punk groups, electronic music, contemporary ensembles and experimental performance. He has also created installation and video artworks with collaborator Sonia Leber, such as Zaum Tractor included in the 56th Venice Biennale (2015) and This Is Before We Disappear From View commissioned by Sydney Biennale (2014).
Georges Lentz is a contemporary composer and sound artist born in Luxembourg in 1965 and that country's internationally best known composer. Since 1990, he has been living in Sydney, Australia. Despite his relatively small output and his reclusiveness, he is also considered one of Australia's leading composers. His music is inspired by the starry night sky in the Australian Outback and by Aboriginal art.
La Communauté électroacoustique canadienne is Canada's national electroacoustic / computer music / sonic arts organization and is dedicated to promoting this progressive art form in its broadest definition: from "pure" acousmatic and computer music to soundscape and sonic art to hardware hacking and beyond.
Ross Edwards is an Australian composer of a wide variety of music including orchestral and chamber music, choral music, children's music, opera and film music. His distinctive sound world reflects his interest in deep ecology and his belief in the need to reconnect music with elemental forces, as well as restore its traditional association with ritual and dance. He also recognises the profound importance of music as an agent of healing. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, he is aware of the exciting potential of this vast region.
Jonathan Anthony Rose is an Australian violinist, cellist, composer, and multimedia artist. Rose's work is centered in the experimental music known as free improvisation, where he has created large environmental multimedia works, built experimental musical instruments, and improvised violin concertos with accompanying orchestra. He has been described by Tony Mitchell as "undoubtedly the most exploratory, imaginative and iconoclastic violin player who has lived in Australia".
Damien Ricketson is an Australian composer of contemporary classical music. He is best known for his innovative compositional practice and in his capacity as the co-founder and co-artistic director of Ensemble Offspring. He is currently an academic at the Sydney Conservatorium of Music, University of Sydney of which he is also an alumnus.
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting, photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994.
Warren Burt is an Australia-based composer of American birth. He is known for composing in a wide variety of new music styles, ranging from acoustic music, electroacoustic music, sound art installations, and text-based music. Burt often employs elements of improvisation, microtonality, humour, live interaction, and lo-fi electronic techniques into his music.
The Arts in Australia refers to the visual arts, literature, performing arts and music in the area of, on the subject of, or by the people of the Commonwealth of Australia and its preceding Indigenous and colonial societies. Indigenous Australian art, music and story telling attaches to a 40–60,000-year heritage and continues to affect the broader arts and culture of Australia. During its early western history, Australia was a collection of British colonies, therefore, its literary, visual and theatrical traditions began with strong links to the broader traditions of English and Irish literature, British art and English and Celtic music. However, the works of Australian artists – including Indigenous as well as Anglo-Celtic and multicultural migrant Australians – has, since 1788, introduced the character of a new continent to the global arts scene – exploring such themes as Aboriginality, Australian landscape, migrant and national identity, distance from other Western nations and proximity to Asia, the complexities of urban living and the "beauty and the terror" of life in the Australian bush.
The Australian Music Centre (AMC), founded as Australia Music Centre in 1974 and known as Sounds Australian in the 1990s, is a national organisation promoting and supporting art music in Australia. It operates mainly as a service organisation, and co-hosts the Art Music Awards along with APRA AMCOS. It also publishes Resonate Magazine.
Manuel Rocha Iturbide is a Mexican composer and sound artist.
David Worrall is an Australian composer and sound artist working a range of genres, including data sonification, sound sculpture and immersive polymedia as well as traditional instrumental music composition.
Lindsay Vickery is an Australian composer and performer.
Colin Black is an Australian experimental music composer, sonic media arts practitioner, radio artist and researcher. Black has been awarded the 2015 New York Festivals International Gold Trophy Winner for Sound Art and the 2003 Prix Italia Award for Best Music Radio – Composed Work. Black has also achieved preselection status in the 2010, 2011, 2015, 2016 and 2017 Prix Phonurgia Nova, the 2013 and 2019 Prix Marulić (Croatia), 2018 Grand Prix Nova (Romania), and 2018 UK International Radio Drama Competition. Black's commissions to create major works include the following organisations: Australian Broadcasting Corporation, Český rozhlas, Deutschlandradio, Parramatta Heritage Centre, Lismore City Council and Northern Rivers Performing Arts (NORPA). His works have been selected for events including En Red O 2000 music festival in Barcelona, Spain, the Festival Synthese in Bourges, France, Rencontres Musiques Nouvelles, Lunel France, 60x60 Pacific Basin Regional Concert Los Angeles USA, Zèppelin 2004-Festival de Arte Sonoro in Barcelona, Spain, Hipersonica 2004 in São Paulo, Brazil, The Literature Sound Barrier 2002 in Wien, Austria, Sydney University's Live Wires concerts '97, '98, and Melbourne's Extatic Concert for the Next Wave festival '98. In 2010 he was artist in residence at WORM, a Rotterdam based institute for avant garde music and art.
Julian Day is an Australian visual artist, composer and broadcaster. His artwork has featured at the 2017 California-Pacific Triennial at Orange County Museum of Art, the 8th Asia Pacific Triennial at the Queensland Gallery of Modern Art, Australian Centre for Contemporary Art (NEW16) and Museum of Contemporary Art Australia. He won the ARTAND Australia Credit Suisse Contemporary Art Award and the 2015 Fauvette Loureiro Memorial Artists Travel Scholarship from Sydney College of the Arts. His compositions have featured at Huddersfield Contemporary Music Festival, Bang on a Can Marathon, MATA Festival and Royal Academy of Music's Piano Festival. He performs as An Infinity Room (AIR), a project for multiple synthesizers, and co-directs the project Super Critical Mass which brings together 'temporary communities' to sound out locations using identical sound sources. As a broadcaster, he presented the long-running experimental music program New Music Up Late as well as Classic Breakfast and Afternoons on ABC Classic FM. He has also made programs for BBC Radio 3 and ABC Radio National.
Rik Rue is an Australian experimental musician, and sound artist, known for his audio collages in recordings and live performance.
The Australian Art Orchestra (AAO) is one of Australia's leading contemporary ensembles. Founded by pianist Paul Grabowsky in 1994, it has been led by composer/trumpeter/sound artist Peter Knight since 2013 and led by pianist/composer/producer Aaron Choulai since 2023. The Orchestra explores relationships between musical disciplines and cultures, imagining new musical concepts that reference how 21st century Australia responds to its cultural and musical history.
References
- R. Bandt 2002, "Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks". Sydney: Fine Art Publishing.
- R. Vella, 2000, "Musical Environments" Sydney: Currency Press.
