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Published online by Cambridge University Press: 29 April 2025
This article aims to outline an exploration of the processes of interpretation in electronic music, rooted in my broader engagement with music, technology and performance. The research presented here traverses the boundaries between composition, technology and performance, seeking to understand how these elements interact and inform each other in the practice of electronic music. The article is both a reflection on my past research and a presentation of ongoing explorations, particularly focusing on the interpretation of Éliane Radigue’s Usral (1969). I aim to offer new perspectives on the interpretation of electronic music, highlighting the complexities and opportunities that arise when dealing with non-traditional, often opaque musical tools and methods.
1 Juan Parra Cancino, ‘Multiple Paths: Towards a Performance Practice in Computer Music’ (Doctoral thesis, Leiden University, 2014), https://www.researchcatalogue.net/view/80097/80098.
2 Jonathan Impett and Juan Parra Cancino, ‘Thought, Technology and Performance: Lessons from the Future’. Music & Practice 6 (2020). DOI: 10.32063/0604 (accessed 30 August 2024).
3 See also Juan Parra Cancino (2014), ‘Reconstruction: On Luigi Nono’s A Pierre and Post-Prae-ludium’ in Multiple Paths: Towards a Performance Practice in Computer Music.
4 See also Juan Parra Cancino and Johannes Mulder, ‘On Stockhausen’s Solo(s): Beyond Interpretation’, Leonardo Music Journal 28 (2018), pp. 13–18. https://doi.org/10.1162/lmj_a_01036.
5 For more on this project see Juan Parra Cancino, ‘Hyperion’s Explosive Compression, after Maderna’, Research Catalogue, 2018. https://www.researchcatalogue.net/view/259946/259947 (accessed 30 August 2024).
6 See Juan Parra Cancino, ‘Artifacts of “Not-Here”’, Proceedings of the 2022 International Computer Music Conference (Ann Arbor, MI: Michigan Publishing Services, 2022); https://www.fulcrum.org/epubs/8910jx22c?locale=en#page=202 (accessed 20 February 2025).
7 Philip Agre, ‘Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI’, in Social Science, Technical Systems, and Cooperative Work: Beyond the Great Divide, eds. G. C. Bowker et al. (Mahwah, NJ: Lawrence Erlbaum Associates, 1997), pp. 131–57.
8 The original manual of the Brüel & Kjaer 2113 is available at https://www.manualslib.com/products/Br-El-And-Kj-R-2113-11030354.html (accessed 30 August 2024).
9 Thom Holmes, Electronic and Experimental Music: Technology, Music, and Culture (London: Routledge, 2012), pp. 368–70.
10 Sections of the score (now long out of print) can be seen at https://blogthehum.com/2016/04/05/gyorgy-ligetis-artikulation-with-score-and-audio/ (accessed 30 August 2024).
11 Éliane Radigue, Feedback Works 1969–1970 (Alga Marghen plana-R alga040, 2012); see also https://emmanuelholterbach.bandcamp.com/ (accessed 30 August 2024).
12 See, for example, the ‘OCCAM-OCEAN’ issue of Sound American from 2021, edited by Nate Wooley. https://soundamerican.org/issues/occam-ocean (accessed 30 August 2024).
13 For more on Éliane Radigue’s ideas on feedback, montage and electronic music, see Julia Eckhardt (ed.), Intermediary Spaces/Espaces Intermédiaries (Umland: Umland Editions, 2019).
14 In 2019, a collaboration between UK synthesiser company AMSynths and musical instrument manufacturer giant Behringer brought a collection of ARP 2500 modules to the Eurorack format. See ‘Behringer 1004 VCO’, 17 October 2021, AMSynths website, https://amsynths.co.uk/2021/10/17/behringer-1004-vco/ (accessed 30 August 2024).