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.

Bibliography

Literature

Kim Cascone, "The Aesthetics of Failure," Computer Music Journal 24 (2000) 13-14

Luigi Russolo, The Art of Noises, (1913)

Cathy Van Eck, Between Air and Electricity, (Bloomsbury Academic, 2017), 41-42, 45-49.

Online Encyclopedias

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https://en.wikipedia.org/wiki/Dub_music

Wikipedia, s.v. "Home computer," last modified February 19th, 2022

https://en.wikipedia.org/wiki/Home_computer

Wikipedia, s.v. "Shoegaze," last modified March 25th, 2022,

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Websites, articles

"A Brief History of Guitar Distortion: From Early Experiments to Happy Accidents to Classic Effect Pedals," Open Culture, accessed March 29th 2022

https://www.openculture.com/2018/09/brief-history-guitar-distortion-early-experiments-happy-accidents-classic-effects-pedals.html

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https://www.frieze.com/article/music-22

Video Content

"1960s Maestro Fuzz-Tone FZ1-A Demo," drowninginguitars, accessed March 28th, 2022,

https://www.youtube.com/watch?v=8trGBcA0Ku0

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Music

Aphex Twin, Windowlicker, Warp Records, single, originally released in 1999

Arca, excerpt, Mutant;Faith, live recording at The Shed, 2019, video

Goree Carter, Rock Awhile, 1949, on The Complete Recordings Volume 1 1949-1951, Blue Moon, compact disc, originally released in 2001

Halim El-Dabh, excerpt, Expression of Zaar, 1944, on Crossing into the Electric Magnetic, Without Fear, compact disc, originally released in 2000

Jackie Brenston, Rocket 88, 1951, on Rocket 88 / Come Back Where You Belong, Chess, shellac 10", originally released in 1951

Jimi Hendrix, Purple Haze, recorded at Atlanta Pop Festival, 1970, clip from Jimi Hendrix Electric Church, directed by John McDermott, documentary, originally released in 2015

The Kinks, You Really Got Me Going, 1964, on Kinks, Pye Records, LP vinyl, originally released in 1964

Luigi Russolo, Intonarumoris, 1913, recorded at Museu Coleção Berardo, Lisboa, 2012, video

Marty Robbins, Don't Worry, Columbia, single vinyl, originally released in 1961

My Bloody Valentine, Only Shallow, on Loveless, Creation Records, compact disc, originally released in 1991

Oval, Textuell, on Systemisch, Mille Plateaux, compact disc, originally released in 1994

Ryoji Ikeda, data.matrix, on dataplex, Raster-Noton, CCI Recordings, compact disc, originally released in 2005

SOPHIE, Faceshopping, MSMSMSM INC, digital single, originally released in 2018

Trevor Wishart, VOX-5, 1986, on Computer Music Currents 4, WERGO, compact disc, originally released in 1989

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August Norborg - Misuse as Creation in Electronic Music - A History and Practical Suggestion - 2022