Esperienza di Ascolto

Musicology of Electroacoustic Music [MEM]  ]

L’esperienza e lo studio dell’ascolto sono una parte importante nelle ricerche di musica elettroacustica. molte musiche elettroacustiche privilegiano l’ascolto in quanto atto creativo. Le pratiche di creazione e ricerca hanno evidenziato situazioni numerose e differenziate nelle quali viene esperita la musica elettroacustica, come pure di varie attese durante il processo di ascolto. Il termine comprensivo include importanti questioni quali: dove ascoltiamo, la presentazione, l’esecuzione e la spazializzazione della musica, ciò che ascoltiamo nella musica (cioè i problemi di senso e significato), le scoperte e le teorie legate alla maniera di ascoltare. Vengono inclusi anche le questioni sociali e culturali del fare la musica elettroacustica.

 

Bibliography:

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Alcázar Aranda, Antonio (2006). Analyse de la musique électroacoustique, genre acousmatique, à partir de son écoute : bases théoriques, méthodologie et but de la recherche, conclusions
Appleton, Jon (1989a). 21st-Century Musical Instruments: Hardware and Software
Arriagada, Jorge, Vuarnet, Jean-Noël (1972). Euterpe 72 de l’instrumentale à l’électro-acoustique instrumentale
Bayle, François (1986a). Écouter et comprendre
Bayle, François (1989a). Image-of-sound, or i-sound: Metaphor/metaphorm
Bayle, François (1989b). Savoir-faire
Bayle, François (1993). Musique acousmatique. Proposition... ...positions
Bayle, François (1995). Musique acousmatique. Diabolus in Musica ?
Bayle, François (1998a). L’odyssée de l’espace
Bayle, François (1999a). Schaeffer phonogène
Bayle, François (1999b). Penser le son aujourd’hui
Bayle, François (2006). Une logique de sensations
Bayle, François, Chion, Michel (1975). La musique électroacoustique est une écriture
Blaukopf, Kurt (1971). Space in Electronic Music
Bodin, Lars Gunnar (1996). Aesthetic Profil Mapping - An Outline of a Practical Aesthetic Analysis
Boeswillwald, Pierre (2000). “Autres temps; autre temps” ou le temps et les arts sonores électroacoustiques
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Breitsameter, Sabine (2003). Acoustic Ecology and the New Electroacoustic Space of Digital Networks
Bridger, Michael (1989). An Approach to the Analysis of Electroacoustic Music Derived from Empirical Investigation and Critical Methodologies of Other Disciplines
Bridger, Michael (2002). Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listeners’ Response
Brown, Nicholas (2006). The flux between sounding and sound: Towards a relational understanding of music as embodied action
Bruckert, Jacqueline (2001). Le message schaefferien and les CFMI
Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo
Burt, Warren (1996). Some Parentheses around Algorithmic Composition
Caesar, Rodolfo (1992). The Composition of Electroacoustic Music
Cascone, Kim (2003). Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music
Chion, Michel (1991). L’art des sons fixés ou la musique concrètement
Chion, Michel (1993b). Le promeneur écoutant
Chion, Michel (1995). Pierre Schaeffer, 1910-1995: “une certaine zone objective dans la musique”
Chion, Michel (1998). Le son
Chion, Michel (2000). Comment tourner autour d’un objet sonore
Chion, Michel, Coppe, Dimitri (1998). Interview Michel Chion
Chouvel, Jean-Marc (2004). Du son à la forme: les nouvelles stratégies compositionnelles issues du studio de musique électroacoustique
Clozier, Christian (1996b). Analysis in Electroacoustic Music
Clozier, Christian, Leipp, Emile (1975a). Le groupe de musique expérimental de Bourges
Clozier, Christian, Leipp, Emile (1975b). Discussion
Cope, David (1999). Facing the Music: Perspectives on Machine-Composed Music
Copeland, Darren (1995). Cruising For A Fixing in this “Art of Fixed Sounds”
Copeland, Darren (1998). Vers une conscience d’associations/For An Awareness Of Associations
Copeland, Darren (1999). Is it Indifference or Ambiguity?
Couprie, Pierre (2004a). La place de l’informatique et du multimédia dans l’analyse des musiques électroacoustiques
Dack, John (1999a). Karlheinz Stockhausen’s {Kontakte} and Narrativity
Dalmonte, Rossana, Baroni, Mario (eds.) (1992). Secondo convegno europeo di analisi musicale. Università degli studi di Trento (Second European conference on music analysis. University of Trento)
Delalande, François (1972). L’analyse des musiques électro-acoustiques
Delalande, François (1974). L’{Omaggio a Joyce} de Luciano Berio
Delalande, François (1986a). En l’absence de partition : le cas singulier de l’analyse de la musique électro-acoustique
Delalande, François (1986b). Pertinence et analyse perceptive
Delalande, François (1993). Analyser le style en musique électro-acoustique : approximation et pluralité en analyse comparative
Delalande, François (2002a). {Aquatisme}
Delalande, François (2003a). Le paradigme électroacoustique
Delalande, François (2003b). D’une technologie à l’autre
Delalande, François, Dessy, Jean-Paul, Franck, Philippe (2003). De Schaeffer au Djing : nouvelles pratiques, nouvelles écoutes
Dhomont, Francis (1995). Éléments pour une syntaxe
Dhomont, Francis (1998a). Navigation à l’ouie : la projection acousmatique
Dhomont, Francis (1999). Dynamique de l’arrêt sur image
Di Scipio, Agostino (2002b). Systems of Embers, Dust, and Clouds: Observations after Xenakis and Brün
Donin, Nicolas (2004). Towards Organised Listening: Some aspects of the ‘Signed Listening’ project, Ircam
Duchenne, Jean-Marc (1998). Pour un art des sons vraiment fixés
Dufour, Denis, Prager, Jonathan (1997). Entretien avec Denis Dufour
Dufour, Denis, Prager, Jonathan, Baudoux, Roald (1991). Les espaces de l’extase

 

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