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The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability of a person to imitate the surrounding sound effects. Imitating and studing the audio nature, man learned to create instruments, and over time, based on instrumental modifications and many different, artificially created rules, he developed a variety of sounds (including electronic music) and principles of the different type of the composition techniques. With this approach, music moved away from its real environment and, as a result of the formation of aesthetic norms by a human, was separated from the general sound of the universe. The true echo of this problem is a question and suggestion of the famous 20th century Italian composer Ferruccio Busoni: "How can music return to its primitive, natural essence? .. .Let us free it from architectonic, acoustic, and aesthetic dogmas;"[3] Since 2023 a group of research-composers from the Vano Sarajishvili Tbilisi State Conservatoire - Maka Virsaladze, Alexander Chokhonelidze, Joni Asitashvili under the leadership of Eka Chabashvili - inspired by the above-mentioned question, are trying to answer F.Busoni through the artistic research "Specifics of composing and performing eco-music works created for 'Sound Oasis''. This project is carried out within the framework of the fundamental research "Implementation of Ecomusicology Research Methodology for the Study of the Georgian Music Ecosystem" [FR-22-8174] conducted by them, which is funded by Shota Rustaveli National Science Foundation of Georgia (SRNSFG). Consultant of the project is American musicologist Aaron S. Allen, who is the author of various books about ecomusicology. In the music of the 20th and 21st centuries, there is a growing interest in environmental sounds. Many composers of this period incorporate recorded environmental sounds into their music or imitate sounds of neture using the different effects of the instruments. The main goal of the Georgian researchers is to create a modern compositional method to compose an eco-music piece, where an artificial source of music (recording, instrument) interacts with live ambient sound, which is incorporated into the texture of the piece. They are studing the eco-system of the urban and suburban soundscape in Georgia and are looking for the ways to restore the principles of the approach of the peoples of ancient culture to music, when sound of the environment was introduced into the music. Mentioned composers studied the soundscape of one of the Sound Oasis and found compositional methods to include its acoustical features and anvironmental sounds in the texture of the piece composed specifically for the selected Sound Oasis. We present to you compositional methods of eco-musical work - an interactive experimental performance "Let's Listen to the Cave", created as a result of the research; it took place in an alternative concert space -the Cave of Prometheus, which the researchers called "Oases of Sound". [ABSTRACT FROM AUTHOR]

While the cultural phenomenon known as vaporwave is commonly traced back to 2009, its defining characteristics remain a subject of ongoing debate within both popular culture and academic circles. Various perspectives categorize it as a microgenre of electronic music, a meme, an art movement, a critique of capitalism, or even a manifestation of pure aesthetics. As such, vaporwave remains a complex and multifaceted topic for research. In this paper, I explore the influence of post-internet culture on the formation of vaporwave and its aesthetics by analyzing the methods and strategies used to create what is recognized as vaporwave, rather than attempting to label or define it precisely. As a further step in this inquiry, I document an attempt to apply these methods and strategies, resulting in the publication of four music albums. This practice-based approach to analyzing vaporwave through creation and publication helps to better understand some core qualities and aesthetics of this art movement. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyse the development of computer digital technologies, to determine their impact on the global music industry in the late XX - early XXI century. The research methodology includes scientific methods (source, historical, generalising) and comparative analysis techniques for disclosure. The scientific novelty of the work lies in a comprehensive analysis of the transformation of digital technologies in the music industry of the period under study. In addition, the main advantages and disadvantages of digitalisation of the music industry were outlined, and the main areas of use of digital technologies were identified. Conclusions. In late XX and early XXI centuries, digital technologies underwent significant changes. These changes included the emergence of personal computers and specialised music software, the emergence of MIDI as a standard for tools and software used in music creation and editing, and the growing popularity of electronic music. In addition, an important aspect of these changes is the widespread use of the Internet, which has become the main means of distributing music through specialised platforms and promoting musicians. At the same time, the use of artificial intelligence is becoming more promising. In general, digital technologies in the music industry during the period under review have numerous advantages for the development of the industry, but also pose challenges. For example, the widespread use of pirated music file sharing services is a serious problem. Digital technologies in the music industry will continue to develop rapidly in the future, but negative aspects may hamper their full potential. Therefore, it is important to effectively combat the existing threats, which will contribute to the proper development of the industry. [ABSTRACT FROM AUTHOR]

Purpose: The aim of the study is to present a description of a case of a person suffering from schizoid personality disorder with a focus on the mechanisms that influenced the life choices of the patient. Case description: 27-year-old man with schizoid personality disorder has been struggling with it since childhood, which mostly caused by his dysfunctional family. The man considers himself unique because he composes music, wants to write a book, set up a theatre and claims that he is able to discover a lot in math, but does not implement it while living in a fantasy world. Discussion: It is thought-provoking that a person with a personality disorder characterized, among other things, by being indifferent to the praise or criticism of others and displaying emotional coldness, detachment, or shallow emotionality, is interested in areas in which emotions embodied in art are one of the main forms of expression, and encountering feedback from others is intrinsically linked to this. One explanation for this may be that the contact with the audience in the patient's chosen fields of art (electronic music making) is not direct. Conclusions: Currently, treatment for schizoid personality disorder is long and difficult. This is mainly due to the fact that these individuals are often indifferent to the need for change, which can lead to a lack of motivation for any treatment. The main methods include psychodynamic psychotherapy, group psychotherapy and sometimes medication. [ABSTRACT FROM AUTHOR]

What happens when speech synthesis applications are incompatible with certain software? This essay considers how inaccessibility within the software and programming language Max is sonically, aesthetically, culturally, and ideologically amplified through a case study of "plus noise unlock," which is the sound made by the author's computer when she attempts to use a screen reader within a patcher window. [ABSTRACT FROM AUTHOR]

Ryoji Ikeda's sonic composition has often been considered to prioritise a physical, immersive experience of space over temporal musical progression. This article challenges this commonly held view, arguing that the static nature of his work should be understood in terms of complex interactions between space and time rather than in dualistic terms. By analysing a large-scale sonic transformation within his 2005 album Dataplex , the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda's sonic composition. [ABSTRACT FROM AUTHOR]

This article discusses a recent publication in feminist music studies that explores the neglected aspects of 'electrosexual' music in the field of electronic music. The book examines themes such as the 'feminised' voice and sexual climax, and addresses exclusionary boundaries in electronic music based on race, gender, and prestige. It also explores the intersectionality of race in electrosexual music and discusses resistance and alternative expressions in Black popular electronic music. While the article acknowledges the book's ethical commitments, it suggests that certain identities and expressions remain unaddressed. The text offers a critical analysis of the book's content and structure, noting its exploration of the influence of academia on research and the rejection of that paradigm. It suggests that the book covers a wide range of topics but may lack emphasis on music analysis and interpretative reading. The article also discusses the role of music theory in feminist, queer, and trans music studies and suggests a broadened definition of music theory. Overall, the book provokes questions and contributes to the field of gender and sexuality studies in music. [Extracted from the article]

This paper provides a broad but comprehensive foundation for understanding the widespread practice of using the bioelectric properties of plants to create music and sound. We begin by describing how plant biosignals are harvested by several commercial electronic devices and a custom-designed interface. Then, we analyze large data samples of potential musical content generated by such technologies. Next we investigate the artistic and musical choices artists make when they interpret this data, analyzing work by British sonic artist Augustine Leudar, the Philadelphia Museum of Art7s Data Garden Quartet, and Japanese composer Mamoru Fujieda. Finally we position the entire enterprise within a posthumanist semiotic framework, specifically referencing work by Uexkull, Deleuze, Krampen, Watkins, and Marder. This interpretation allows us to speculate on the nature of communication and musical collaboration that can potentially take place between the human and vegetative domains. [ABSTRACT FROM AUTHOR]

The archive of the Tempo Reale center for music research, production and education, founded by Luciano Berio in 1987, is a heritage of great importance for the recent history of electronic music. This article describes the initiatives that have been taken to promote the archive, as well as some ongoing projects: in particular, it presents the methods and perspectives adopted with the aim of disseminating knowledge of the heritage and widening access to it, also involving the potential stakeholders of the archive. Based on this limited experience and on the notion of the “activation” of the heritage, some theoretical perspectives are outlined, questioning the possible participatory construction and transmission of an “electronic music culture”.

Introduction: Polydrug use patterns among young adults using ecstasy vary, as well as their willingness to change them. Polydrug use patterns are likely associated with different adverse health outcomes. It is unknown whether polydrug use patterns of young adults who use ecstasy are similar in different countries. This study aims to identify and compare polydrug use patterns and willingness to change them of young adults that use ecstasy in the United Kingdom (UK) and the Netherlands (NL), two countries with a high prevalence of ecstasy use and a large electronic dance music (EDM) scene. Methods: The data from the online cross-sectional Electronic Music Scene Survey were used in a latent class analysis. The binary indicators used in the estimation were past-year substance use of 21 different substances. The sample consisted of young adult ecstasy users that regularly visit EDM events (age 18–34). Results: A total of 1,077 respondents from the UK (age M = 23.1) and 1,178 from the NL (age M = 23.7) that regularly visit EDM events were included in the analyses. In both countries, three polydrug use patterns of ecstasy users were identified based on Bayesian Information Criterion fit indices: a traditional polydrug use class (UK: 28%; NL: 40%), a stimulant and ketamine polydrug use class (UK: 48%; NL: 52%), and an extensive polydrug use class (UK: 24%; NL: 8%) characterized by substantial use of stimulants, depressant, and psychedelic substances. Overall, young adults that used ecstasy in the UK consumed 3,4-methylenedioxymeth-amphetamine (MDMA) more often as powder/crystalline and at higher dosages compared to young adults in the NL who preferred MDMA tablets. Regardless of polydrug class or country, most respondents indicated that they had the intention to reduce but not quit their use. Conclusion: In both countries, structurally similar polydrug use patterns among young adults that use ecstasy were found, while the use frequencies of individual substances and preferred MDMA form varied between the countries. [ABSTRACT FROM AUTHOR]

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This article explores the emergence of musical performance practices whereby electronic music styles, along with the musical and sonic characteristics inherent in their electronic production, are emulated through live musical performance using acoustic instrumentation. The article draws on Brummett's (1999) concept of 'machine aesthetics' to explore the emergence of these practices, whereby musicians emulate sonic and musical attributes of music usually produced by machines, without the use of machines. Utilising semi-structured interviews and musical analysis of records by Abstract Orchestra and GoGo Penguin, the article attempts to contextualise these practices within their broader function in popular music production and performance. [ABSTRACT FROM AUTHOR]

In this article, we will follow the development of electroacoustic music. This article focusses especially on the instruments that contributed to the apparition of this genre of music, starting with the beginnings, before the twentieth century. This will help us understand the evolution of musical instruments and how important they are when it comes to making music. What is more fascinating about electro acoustic music will be presented in the article, focusing on some of the pioneers of this type of music, and how electro acoustic music turned into what nowadays we call techno music. Also, we will follow the development of the instruments used back in the days to the processor which we use in the creation of electronic music. [ABSTRACT FROM AUTHOR]

Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These conceptual frameworks inform the technological and aesthetic approaches applied in the making of Markarian 335. We describe the creative procedures and the implications of the design choices involved in this artwork. The contributions and shortcomings of our ecomprovisational approach are situated within the context of the current efforts to foster expanded creative possibilities in ubimus endeavours. [ABSTRACT FROM AUTHOR]

Perceived relationships between timbres are critical in electroacoustic music. Most studies assume timbres have fixed inter-relationships, but we tested whether distinct tasks change these. Thirty short sounds were used, from five categories: acoustic instruments, impulse responses, convolutions of the preceding, environmental sounds and computer-manipulated instrumental sounds. In Task 1, 46 non-musicians formed a 'cohesive' sonic ordering of unlabelled icons (sounds attached). In Task 2, they categorised the icons into four boxes. In Task 3 listeners separately ordered the sounds from each of Task 2's boxes using the approach of Task 1. Tasks 1 and 2/3 revealed distinct orderings, consistent with conceptual flexibility. To analyse the orderings, we replaced conventional distance by adjacency measures, and described each system as a network (rather than spatial positions), confirming that the two task outcomes were distinct. Network analyses also showed that the two systems were mechanistically distinct and allowed us to predict temporally changing networks, modelling the observed networks as successive perceptions. Further simulated networks generated with the temporal model readily encompassed all possible pairings between the sounds and not just those we observed. The temporal network model thus confirms conceptual flexibility even in untrained listeners, clearly suitable for a composer to use. [ABSTRACT FROM AUTHOR]

This article aims to explore the concept of patched/versioned musical works as creative ecologies. It identifies how the internet's involvement in music creation and dissemination influences choices related to the release of such works. Throughout this writing, the author looks at the increasingly volatile structures surrounding recorded music in the early twenty-first century as a result of streaming platforms such as Spotify and video-based social media sites such as TikTok becoming the primary means for music consumption. It explores this volatility as a method for approaching the release of new music within dynamic musical ecosystems and looks at the growing art scene focusing on this way of working, drawing parallels between artistry and subscription-based services where content continually evolves over time. [ABSTRACT FROM AUTHOR]

This article explores strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation. We outline our existing musical practice relying on site-specific sampling and digital mobile technologies that have been tested across a range of participatory music performances. Salient challenges within this performance context are identified and several tools and techniques are proposed as solutions. We then consider how setting-based and sample-based participatory performances can be expanded through gamification strategies. After exploring how notions of playful experience can offer new insights into the nature of audience engagement, we propose several approaches for introducing gamified elements into performative music practices that can expand the scope of audience participation while preserving key aspects of using concert location recordings and musical improvisation. We conclude by discussing the implications of these approaches for the performer–audience relationship and the prospect of musical engagement with the environment before suggesting directions for future research. [ABSTRACT FROM AUTHOR]

This article describes the ways in which the spectra of electroacoustic music compositions can be structured coherently. It begins by describing the straightjacket that composers and listeners are constrained by when using the concept of 'source bonding' and how this needs to be discarded for effective listening. It then describes the concept of spectral merging and how ideas of musical timbre are formed, and finally discusses the many ways that spectra can be structured with both harmonic and inharmonic components. Examples are given from the author's own music and other well-known works in the literature of electroacoustic music. [ABSTRACT FROM AUTHOR]

This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can have, providing examples of how scientific and philosophical principles can be translated into music. The historical context is key to understanding the evolution of the field: feedback-based music arose during the same years in which cybernetics, together with other disciplines, were experiencing a profound transformation. I will provide an overview of how such disciplines changed, highlighting the connections between seemingly distant areas such as philosophy, biology and engineering, and the fact that the development of feedback-based music appears to have followed somewhat closely the evolution of systems thinking. Finally, the article explores questions of musical aesthetics and music theory related to the use of complex autonomous systems in live performance through observations on the author's creative practice. [ABSTRACT FROM AUTHOR]

Over the past decade, digital technology has revolutionized music creation, sharing, teaching, and learning, and it is evolving rapidly. There is a whole new process of music making through music games, programs, applications, and networked digital tools. To provide a comfortable learning environment for students and contribute to their high learning outcomes, the impact of such applications on students' motivation and interest should be explored. The aim of the study was to investigate the impact of Overture score writing software on students' motivation and interest in creating electronic music. The experiment involved 87 music students from [BLINDED] in China. For the study purposes, Overture was integrated into the course of creating and reading scores used for practical assignments. Via pre- and post-testing, the effect of its implementation on students' motivation was determined. In sum, it was unveiled that the use of the Overture program increased students' motivation by 14.3%, attention by 29%, confidence by 12.5%, and satisfaction by 12.4%, and this rise was significant. The deduction was made that Overture favored musicians' learning motivation. The written participant surveys revealed a high interest in using Overture and a desire to continue writing electronic music with its help. The experiment results reinforce the findings of previous research in the field. It is possible that Overture will be able to advance students' motivation while studying a number of other music disciplines where it may be applicable. Testing this assumption is seen as one of the future study directions. At the same time, it is important to continue research on the topic of the use of modern software and what impact computer-based music software can exert on students' academic performance. [ABSTRACT FROM AUTHOR]