Keywords framework affordance music technology musical instruments model education AbstractThis article presents a simple and flexible model in which the tools of music-making ('frameworks') are viewed in terms of what they allow us to do (their 'affordances'). The model has analytical and pedagogical applications in any discipline that involves interactions with tools. This article focuses on musical applications and will therefore be of particular interest to music educators, composers, performers and researchers seeking an alternative perspective on the relationship between music and the tools used to compose and perform it. The model deals with technology in a broad sense that includes traditional acoustic instruments and other non-electronic tools as well as electronic and computer technologies. An account of how the frameworks and affordances model could be usefully applied in teaching and research, with specific examples, is given.

No abstract

No abstract

This paper provides an account and interpretation of Hugh Davies s electronic music research and documentation from the period 1961 1968. It is argued that Davies, particularly via his International Electronic Music Catalog (published 1968), characterised electronic music for the first time as a truly international, interdisciplinary praxis, whereas in the preceding literature the full extent of that international, interdisciplinary scope had been represented only partially, and in a way that was heavily biased in favour of the ostensibly main Western European and North American schools. This argument is demonstrated by referring to a range of published sources dating from 1952 1962, which represented the praxis of electronic music as somewhat fragmented and parochial and to a range of Davies s published and unpublished writings, which conveyed a sense of the various international, aesthetic, and disciplinary threads coalescing into an apparently coherent whole. An interpretation of Davies s motivations for representing electronic music in this way is provided, which has to do with his belief in international and interdisciplinary exchange as catalysts for the development of the electronic idiom. Many subsequent publications rely upon the data provided in the Catalog, which continues to be, arguably, the most complete record of international, interdisciplinary electronic music activity up to the end of 1967. Some examples are given that illustrate the influence of the Catalog upon subsequent studies. It is concluded that further work is needed in order to fully understand and evaluate the historiographic consequences of the Catalog s influence upon discourses of electronic music history.

No abstract