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dc.contributor.authorVandemast-Bell, Paul*
dc.date.accessioned2015-04-08T08:21:26Zen
dc.date.available2015-04-08T08:21:26Zen
dc.date.issued2013-06en
dc.identifier.citationPaul Vandemast-Bell (2013) Rethinking live electronic music: a DJ perspective, Contemporary Music Review, 32:2-3, 239-248, DOI: 10.1080/07494467.2013.775817en
dc.identifier.issn0749-4467en
dc.identifier.issn1477-2256en
dc.identifier.doi10.1080/07494467.2013.775817en
dc.identifier.urihttp://hdl.handle.net/10545/348623en
dc.description.abstractThe author critiques the conventional understanding of live electronic music through empirical research on his own DJ practice and investigates others working in the field. In reviewing the opinions of theorists and practitioners in both the live electronic music genre and DJ-ing he argues against the body/machine dialectic that has determined much of the thinking in the former. The author forms a notion of the DJ as a real-time composer working beyond traditional binary distinctions who brings the human body and machine into a mutual relationship. Through practice-led research he charts an investigation beginning in physical human gesture and culminating in digital machine repetition. He concludes that mechanical and digital repetition do not obscure human agency in the production of live works and that this concern is imaginary.
dc.language.isoenen
dc.publisherRoutledgeen
dc.relation.urlhttp://www.tandfonline.com/doi/abs/10.1080/07494467.2013.775817en
dc.rightsArchived with thanks to Contemporary Music Reviewen
dc.subjectLiveen
dc.subjectElectronicen
dc.subjectDJen
dc.subjectGestureen
dc.subjectDigitalen
dc.subjectRepetitionen
dc.titleRethinking live electronic music: a DJ perspectiveen
dc.typeArticleen
dc.contributor.departmentUniversity of Derbyen
dc.identifier.journalContemporary Music Reviewen
refterms.dateFOA2019-02-28T13:41:22Z
html.description.abstractThe author critiques the conventional understanding of live electronic music through empirical research on his own DJ practice and investigates others working in the field. In reviewing the opinions of theorists and practitioners in both the live electronic music genre and DJ-ing he argues against the body/machine dialectic that has determined much of the thinking in the former. The author forms a notion of the DJ as a real-time composer working beyond traditional binary distinctions who brings the human body and machine into a mutual relationship. Through practice-led research he charts an investigation beginning in physical human gesture and culminating in digital machine repetition. He concludes that mechanical and digital repetition do not obscure human agency in the production of live works and that this concern is imaginary.


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