Professional Documents
Culture Documents
To cite this article: Jonathan Harvey (1999) The metaphysics of live electronics, Contemporary Music Review, 18:3, 79-82,
DOI: 10.1080/07494469900640351
Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained
in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no
representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the
Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and
are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and
should be independently verified with primary sources of information. Taylor and Francis shall not be liable for
any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever
or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of
the Content.
This article may be used for research, teaching, and private study purposes. Any substantial or systematic
reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any
form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://
www.tandfonline.com/page/terms-and-conditions
ContemporaryMusic Review 9 1999OPA (Overseas Publishers Association)N.V.
1999, Vol.18, Part 3, pp. 79-82 Published by license under
Reprints available directly from the publisher the Harwood Academic Publishers imprint,
Photocopying permitted by license ordy part of The Gordon and Breach Publishing Group.
Printed in Singapore.
JonathanHarvey
Downloaded by [Universite De Paris 1] at 21:39 16 September 2013
The article revolves around the question of performance in live electronic works. After put-
ting the problem in perspective by raising several esthetical and musical issues, the author
goes on by illustrating some of these preocupations through a number of recent pieces.
79
80 JonathanHarvey
where the rational self and the would-be supressed experiencer of a for-
bidden other reality fight it out.
But if this is true, might it not be true of music as a whole, and non-real-
time as much as live electronics? Why focus on live electronics particularly?
Is not all composing an attempt to resolve conflicts between contradictory
realities of the mind?
Certainly the aesthetic question is bigger than live electronics: but for
me, live electronics is the most powerful tool in the dialectical process
which I shall try to describe.
With electronics it is common to make sounds that have no, or only
Downloaded by [Universite De Paris 1] at 21:39 16 September 2013
Sound examples