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International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium

Published online by Cambridge University Press:  30 June 2014

Colin Black
Colin Black*
Affiliation:
The International Radio Art (and Creative Audio for Trans-media) Research Group (IRARG), PO Box 92, Seaforth, NSW, 2092, Australia
*
E-mail: artist@colinblack.com.au
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Abstract

Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.

Type
Articles
Information
Organised Sound , Volume 19 , Special Issue 2: The Sound of Cultures , August 2014 , pp. 182 - 191
Copyright
Copyright © Cambridge University Press 2014 

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Discography

Samuel Beckett Works for Radio, CD disc 1, Samuel Beckett, All That Fall, BBC Radio 1957 broadcast, produced by Donald McWhinnie, British Library Board: NSACD 24 -27, 2006.Google Scholar