Misuse as Creation in Electronic Music - A History and Practical Suggestion by August Norborg

In this thesis the author explores the term ”misuse” as a methodology of composition, but also proposes to view it as an informal tradition within the history of electronic music. The author explores the possible definitions of the term ”misuse”, proposing to view it as an inherently destabilizing practice, where the practitioner must reject the defining of a strict identity. The author also highlights the shift away from mastery of technology to a more equal, exploratory relationship that occurs within the practice, as well as its ability to chart the materiality of said practice. The author proposes that this tradition re-occurs historically as both a technical, aesthetic and philosophical phenomenon, serving as a progressive force within the wider genre of electronic music and often as part of a consciously rebellious practice. The author explores how this methodology can be applied within their own contemporary compositional practice using the software Ableton Live, chronicling their own explorations of generating sound via different misuses of the software, including sound examples. Finally, the author evaluates the applicability of this method on their own artistic practice through 2 attached compositions, and gives testimony to their experience and insights working with the material.

Misuse in the History of Electronic Music

While I make no claims of providing a complete overview of the various ways in which misuse has taken shape in electronic music history, I here provide a few standout examples that have been meaningful for my view of the concept. I also provide what I view as the ideological underpinnings of the examples described.It is worth pointing out that these examples represent a wide variety of movements and artists with different backgrounds and different levels of academic recognition. While musique concrète represents one of the most established perspectives in electronic music academia, other examples come from a background of DIY and often on some levels represent a struggle against different hierarchies of dominance.
Since I do not wish to imply any particular causal chronology(there is for example no evidence that anyone in the Jamaican Dub scene had an interest in musique concrète) I have decided to not provide these examples in any specific order, but rather let the reader navigate freely between them.

Dub in 70's Jamaica

From glitch until now

Musique Concrète

The Roland TB-303

The history of guitar distortion

Back

Tip

Tip