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A cousin to the glitch genre, microsound explores the lower and higher frequencies of the sound spectrum through digital and analog signal processing, granular synthesis, and micromontage. It focuses largely on the arrangement of sound particles within a composition.
- Albums
A cousin to the glitch genre, microsound explores the lower...
- Artists
Largely defined by its own name, the term microsound largely...
- Songs
Largely defined by its own name, the term microsound largely...
- Glitch
As computer-aided composition slowly eclipsed the...
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- Albums
Microsound. AKA: Micromontage • 341 releases. Usage of sounds on an incredibly small scale. Read more. An update has been submitted for this genre and is awaiting approval. You can vote or comment on this submission. ADVERTISEMENT. Top-ranked albums. See full chart. #1. Dataplex. Ryoji Ikeda. #2. Stil. Taylor Deupree. #3. Cyclo. #4. Prototypes.
Jun 25, 2024 · Top Microsound albums of all time. Separate: live, archival, soundtracks and scores. Prev. 1 2 3 4 5 6 Next. Updated: 25 June. Average Ratings Reviews. Dataplex. Ryoji Ikeda. 3.61 4,658 54.
Find microsound tracks, artists, and albums. Find the latest in microsound music at Last.fm.
- Abstract
- Five Digital Music Genres
- Retheorizing Music Genre Online
- The Issue Crawler Software as Method
- Microsound: ‘Formalized Music’ to Genre
- The Nostalgia Genre Continuum
- Hauntology and The Unfulfilled Promise of The 1960s and 1970s
- Hypnagogic Pop: The Cassette as Palimpsest of Sonic Memory
- Chillwave: Indie Mainstream and Disciplined Hyperlinking
- Vaporwave, Interface Aesthetics, and The Reflexive Return of The Early Net
Over the past twenty years, growing use of the internet has fostered a range of escalating transformations that radically alter the environment for the creation and consumption of music. A number of developments have received critical attention, among them the changing nature of the musical object;1 the effects of new modes of internet-based distri...
In selecting the five genres for analysis in this article, we seek to highlight their intrinsic interest as genres, the variety of ways in which the internet figures in their articulation, and the insights gained by analysing their online mediations. In each case we bring out salient features. The roots of microsound lie in the pre-internet era, st...
We have suggested that the exponential growth of internet-based creative musical practices necessitates a new approach to the theorization of genre that takes such practices into account. Despite the continuing prominence of genre in recent decades in cultural theory25 and film theory,26 the development of genre theory in relation to music has flou...
The Issue Crawler software is well established in digital sociology,70 and the method is quite simple: one starts with a curated list of URLs representing between ten and twenty key actors associated with whatever field one wants to analyse. For our purposes, analysing music genres online, these starting links might be a list of representative acto...
Although we claim that microsound is a genre, this is contentious. In the academic disciplines of electroacoustic and computer music, the term microsound has more often been identified with a philosophy, technique, or style. Iannis Xenakis coined the term (‘micro sons’) in his seminal text Formalised Music, conceiving of it as a compositional philo...
The four later genres that we examine mark out a very different terrain. Where microsound attempts to enact a convergence between non-academic and academic electronic musics, hauntology, hypnagogic pop, and vaporwave all style themselves as underground. Where microsound’s materialist modernism is bound up in an ambivalent engagement with the digita...
The term ‘hauntology’ was first employed in relation to music by the critic and cultural theorist Mark Fisher, who, with knowing reference to the philosopher Jacques Derrida,113wrote a feature on his ‘k-punk’ blog in which he applied the term to the influential Ghost Box label. He wrote that records released by the label conjured a A year later, th...
If hauntology’s nostalgia is for particular cultural elements drawn from Britain’s cultural landscape from the 1960s to the late 1970s, then hypnagogic pop (h-pop) unleashes an equivalent nostalgia, but with a geo-temporal shift—for the cultural material at the core of the genre is the individualistic, desire-manufacturing mediascape of the America...
Chillwave came to life, like hauntology, in the blogosphere. Coined in a throwaway post by a writer known as ‘Carles’ on the influential Hipster Runoff blog,126 the term enjoys a much wider fame than the other genres discussed in this article. Crucially for the fate of h-pop, certain core artists cited in Keenan’s 2009 definitive article on the gen...
Vaporwave is the most ‘current’ of the nostalgia genres. Like the previous three, it reanimates a historical period or past; but with considerable irony, the ‘past’ that it resurrects is that of the late 1990s to the present—the ‘digital age’. In comparison with the previous genres, moreover, what is remarkable about vaporwave is the extent to whic...
- Georgina Born, Christopher Haworth
- 2017
A cousin to the glitch genre, microsound explores the lower and higher frequencies of the sound spectrum through digital and analog signal processing, granular synthesis, and micromontage. It focuses largely on the arrangement of sound particles within a composition.
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Jan 23, 2019 · Timbral and tonal structures produced using granular processing are captivating and the potential for sonic diversity is immense. Granular techniques led to the evolution of new compositional methods as well as influencing whole genres of music. This is the landscape that we are going to be exploring within this article.
