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| Glitch | |
|---|---|
| Stylistic origins | |
| Cultural origins | 1990s, United Kingdom, Germany, Japan |
| Subgenres | |
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Glitch is a genre of experimental electronic music that emerged in the 1990s, which is distinguished by the deliberate use of glitches in audio media and other sonic artifacts.[1]
The sounds featured in glitch tracks usually come from audio recording device or digital electronics malfunctions, such as CD skipping, electric hum, digital or analog distortion, circuit bending, bit-rate reduction, hardware noise, software bugs, computer crashes, vinyl record hiss or scratches, and system errors, as well as abstract sound design produced from the intended use of these technologies. Devices that were already broken are often used, while other times devices are broken expressly for this purpose.[2] In Computer Music Journal, composer and writer Kim Cascone classified glitch as a subgenre of electronica and used the term post-digital to describe the glitch aesthetic.[1]
- ^ a b "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, and 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) Archived 2017-06-08 at the Wayback Machine
- ^ Cascone, Kim (2004). "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". In Cox, Christoph; Warner, Daniel (eds.). Audio Culture: Readings in Modern Music. Continuum Books. pp. 392–398.
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