Publication
A arte do looping: a loop station como instrumento de prática performativa musical
| Summary: | In this article I reflect on a performative musical practice characterised by the use of the loop station – a machine that permits audio recording and cyclical playback (the loop). In 2001, Boss Company launched the first loop station. It was developed as a foot pedal, so as to enable musicians to self-accompany. The loop station allows the performer to build audio overdubs to create a structure (rhythm, bass lines, harmony, etc.) over which he performs its solo. This component is commonly referred to as live loops. This work proposes to reflect in what sense loop station technology brings into question the concept of performative musical practice (Béhague 1984) and its implications within and for the music industry. I depart from my situation as looper (a performer who incorporates a loop station on his setup), interviews with other loopers and the analysis of academic publications that focus on the use of the loop station in musical performance, such as websites and virtual communities about this subject. |
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| Main Authors: | Duarte, Alexsander Jorge |
| Subject: | loop station looper live loops performance musical loop station looper live loops musical performance |
| Year: | 2019 |
| Country: | Portugal |
| Document type: | article |
| Associated institution: | Universidade de Aveiro |
| Language: | Portuguese |
| Origin: | Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança |
| Summary: | In this article I reflect on a performative musical practice characterised by the use of the loop station – a machine that permits audio recording and cyclical playback (the loop). In 2001, Boss Company launched the first loop station. It was developed as a foot pedal, so as to enable musicians to self-accompany. The loop station allows the performer to build audio overdubs to create a structure (rhythm, bass lines, harmony, etc.) over which he performs its solo. This component is commonly referred to as live loops. This work proposes to reflect in what sense loop station technology brings into question the concept of performative musical practice (Béhague 1984) and its implications within and for the music industry. I depart from my situation as looper (a performer who incorporates a loop station on his setup), interviews with other loopers and the analysis of academic publications that focus on the use of the loop station in musical performance, such as websites and virtual communities about this subject. |
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Funded activities
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