Sympho-electronic music
Electronic music is music whose creation uses electronic musical instruments and technology. Electronic music consists of sounds that are formed using electronic technologies and electromechanical musical instruments. Examples of electromechanical musical instruments are the Tellarmonium, the Hammond organ and the electric guitar. Pure electronic sound is obtained using such instruments as a theremin, a synthesizer and a computer.
Electronic music was previously associated only with Western academic music, but in the late 60s affordable electronic synthesizers appeared. Due to its moderate cost, they are now available to the general public, and not just to major recording studios, as it was before. This event dramatically changed the image of popular music – many rock and pop artists began to use synthesizers. Today, electronic music includes a large number of different styles from experimental academic music to popular electronic dance music.
Symphonic music – musical works intended for the performance of a symphony orchestra.
Includes large monumental works and small plays. The main genres: symphony, suite, overture, symphonic poem.
Based on these definitions, we would define the term “Sympho-electronic music” as follows:
the continuity of the definition of “symphonic music” is preserved, with the addition of the fact that it:
1 – can be performed by a virtual orchestra (not alive), using virtual instruments
2 – can be performed by a live orchestra involving EMP (electromusical devices)
The terms “Sympho-electronic music” and symphonic electronic music are considered synonymous
Considering the fact that in modern times almost all music is electronic, we consider the introduction of new terms “symphonic electronic music” (exactly like symphonic electronic music) or “symphonic electronic music” as inexpedient
First, since when publishing in the Sound Engineer magazine (No. 6 for 2003) the article “The Age of Electronic Music”, without any coordination with me, was subjected to a significant reduction and ruthless editorial “adjustment”, then responding consistently to each critical A. Weizenfeld’s remark from his article “Who Will Protect Music?” (“Sound producer” No. 7 for 2003), I will refer specifically to the author’s version of my article, which I referred to the editorial staff of the Sound producer magazine:
THE AGE OF ELECTRONIC MUSIC.
Secondly, since A. Weinzenfeld constantly stumbles in this controversy on a tone that is frankly disrespectful to me personally, I reserve the right to respond to such “personal attacks” of A. Weizenfeld in a way that is absolutely moral and ethical.
Thirdly, since Mr. Weinzenfeld never gave me an answer to him on the pages of the Sound Engineer magazine, I answer him here in the form of some kind of “virtual dialogue”.
Fourthly, I will answer only essentially debated professional questions, adhering at the same time to the accurate and clear scheme:
A.Weizenfeld’s Replica – Answer to A.Enfi’s Replica
But these devils are flattered by the flattering flatteries preaching us from God,
pipes and guslmi and tambourines! Carmonies are demonic scumbles! ”
Nestor’s words from The Tale of Times
“The composer turns into a pilot with the help of an electronic brain,
pushing buttons, introducing coordination and observing the dials of a spacecraft floating in space sounds among the sound
constellations and galaxies that loomed vaguely to him only in distant
dreams. Now he can freely explore them, sitting in a chair … ”
A.Enfi (A.E.). Such an incorrect (or rather, deliberately distorted) presentation of the initial-parcel theses of my article is a deliberate distortion of factual materials already at the starting positions of the discussion …
No, excuse me, but in my article something quite different is asserted: “The timbre, along with” locally expressive “, also has the most important formative functions”; and this statement, in contrast to its “Weizenfeld interpretation”, calling the same function as “timbre”, does not at all deny, for example, the fact that other “components of music” also have formative functions: melody, harmony, rhythm…
A.V. The academician himself spoke about the intonation crisis of modern music, and not about the timbre at all.
A.E. Firstly, the “intonation crisis” is a rather subjective phenomenon and always overcome by the talent and fantasy of the composers themselves, for the variations of the pitch-and-rhythmic organization of sounds expressed by musical signs are practically inexhaustible.
