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Glitch is a genre of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern.〔 Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system errors. In a ''Computer Music Journal'' article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term ''post-digital'' to describe the glitch aesthetic.〔"The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage." ''THE AESTHETICS OF FAILURE: 'Post-Digital' Tendencies in Contemporary Computer Music'', Kim Cascone, (Computer Music Journal 24:4 Winter 2000 (MIT Press) )〕 == History == The origins of the glitch aesthetic can be traced to the early 20th century, with Luigi Russolo's Futurist manifesto ''The Art of Noises'', the basis of noise music. He also constructed noise generators, which he named ''intonarumori''. Later musicians and composers made use of malfunctioning technology, such as Michael Pinder of The Moody Blues in 1968's "The Best Way to Travel," and Christian Marclay, who used mutilated vinyl records to create sound collages beginning in 1979. The title track of OMD's popular 1981 album ''Architecture & Morality'' makes use of invasive computer- and industrial noise snippets, and has been cited as an early incarnation of glitch.〔 Paul Gambaccini: There's even a track on there (& Morality'' )—the title cut, in fact—that, when you listen to (), is really like an early incarnation of glitch techno."〕 Yasunao Tone used damaged CDs in his ''Techno Eden'' performance in 1985, while Nicolas Collins's 1992 album ''It Was a Dark and Stormy Night'' included a composition that featured a string quartet playing alongside the stuttering sound of skipping CDs.〔1995 (Interview with Nicolas Collins ), by Brian Duguid〕 Yuzo Koshiro's electronic soundtrack for 1994 video game ''Streets of Rage 3'' used automatically randomized sequences to generate "unexpected and odd" experimental sounds. Glitch originated as a distinct movement in Germany with the musical work and labels (especially Mille Plateaux) of Achim Szepanski.〔"First championed by the ideological German techno figure Achim Szepanski and his stable of record labels—Force Inc, Mille Plateaux, Force Tracks, Ritornell—this tight-knit scene of experimental artists creating cerebral hybrids of experimental techno, minimalism, digital collage, and noise glitches soon found themselves being assembled into a community."(Allmusic )〕〔("Random Inc.", "Allmusic" )〕 Oval's ''Wohnton'', produced in 1993, helped define the genre by adding ambient aesthetics to it.〔"Although Oval are perhaps more well-known for how they make their music than for the music they actually make, the German experimental electronic trio have provided an intriguing update of some elements of avant-garde composition in combination with techniques of digital sound design.()" (Allmusic )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「glitch music」の詳細全文を読む スポンサード リンク
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