Live Looping in Musical Performance offers a diverse range of interdisciplinary perspectives on the application of live looping technology by lusophone performers and composers. This book explores various aspects, including the aesthetic component, instrumentation, and setup, highlighting the versatility of this technology in music-making.

Written by musicians and researchers from Portuguese-speaking countries, this book comprises eleven chapters that delve into various musical contexts, genres, and practices. The novelty of including collaborative texts written alongside non-professional researchers offers the possibility of drawing from real experience to consider how live looping has been changing and "cyborguising" the concept of music, the ritual of the performance, the identity of the musicians, and the public's expectations.

Live Looping in Musical Performance provides cutting-edge reading for composers and performers, as well as ethnomusicologists, students, and researchers working in the areas of music production, technology, and performance. This book addresses a broader audience, both academic and non-academic, who are interested in new processes of musical creativity in a post-human world.

chapter |10 pages


part I|113 pages

Auto-ethnographic experiences (from the lab)

chapter 1|21 pages

From the Studio to the Stage

Reflections on live looping and instrumentality through the performance of Import/Export: Percussion Suite for Global Junk by Gabriel Prokofiev

chapter 2|17 pages


Its repertoire using live looping

chapter 3|15 pages

Interaction and Reaction

Reflections about performance, composing, and live looping

chapter 5|12 pages


The processes and methods of the composition work for xylophone and live looping

chapter 6|16 pages

Densus Bridge

For trumpet and live electronics (live looping and effects)

part II|50 pages

Collaborative writing experiences (from the field)