Abstract
Through recent developments in computer hardware, post-digitalcomposers are now able to perform “live” withrelative ease. This opportunity raises the question of how a livepost-digital performance might differ from its traditional presentationby recordings. Post-digital music has recently grown from the physicalcontext of the electronic dance club, yet now is mostly isolatedfrom that venue. From a formal standpoint, post-digital music is makingvalid and compelling claims to the history of classical electronic music,but has yet to make significant inroads into the sites of its performance.The essay reviews several sites (Internet, symphony hall, art gallery andacousmatic theatre) in which post-digital music is being performed,and discusses the generic constraints imposed by these sites andtheir typical audiences. The author examines the performative symbolismof the laptop computer and how it is viewed as an “instrument” byboth composer and audience alike.
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