ЖИВА ЕЛЕКТРОНИКА У ДЕЛИМА СРПСКИХ АУТОРА КОМПОНОВАНИМ ДЕВЕДЕСЕТИХ ГОДИНА 20. ВЕКА
LIVE ELECTRONICS IN THE WORKS OF SERBIAN AUTHORS COMPOSED IN THE 1990S

Summary/Abstract: The paper shows ways in which live electronics was present in compositions of Srđan Hofman and Jasna Veličković, created during the 1990s, bearing in mind the trends in using computers in live performances of electoacoustic music of the time, as well as the specific social circumstances that influenced the creation of their works. Starting from a more precise definition of the meaning that the term live electronic had at that particular time in music history, as well as from a closer examination of historical conditions in which this kind of output was created, the paper focuses on Musica Concertante, Signs, Duel, Nocturno of the Belgrade Spring 1999, and Vris.krik.exe, in order to investigate the specific compositional procedures and strategies in the application of digital technology, i.e., sampling and sample processing, or performing using MIDI controlers, with special focus being placed on the relationship between „physical“ and „virtual“ instruments, in light of the rapid growth of processing speeds of the time, and thus, of the computer’s response to given instructions in real time. I begin with examining the definitions of the term “live electronics” based on systematizations of numerous examples from this, nearly 50 year-long practice, found in writings of foreign authors, followed by a shift in focus, towards the output created in the last decade of the 20th century, and especially towards attitudes which are directly connected to works that are examined in this paper.

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