Análisis Auditivo

Musicología de la Música Electroacústica [MME]

 > 

Análisis

 ]

El Análisis Auditivo es un medio hacia una mejor comprensión de la estructura y el contenido musical, que se apoya en la experiencia de escucha de la/s persona/s que se encuentra/n investigando la obra, antes que en el uso de una partitura prescriptiva. En música electroacústica, la mayoría de las obras existen sin una partitura prescriptiva. El Análisis Auditivo es un medio para identificar aspectos generales así como detalles específicos de una obra (grabada). Normalmente esto implica una escucha repetida para lograr la confirmación.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Barret, Natasha (1999). Little Animals: Compositional Structuring Processes
Bayle, François (1993). Musique acousmatique. Proposition... ...positions
Bosma, Hannah (2003). Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music
Bossis, Bruno (2004). Reflections on the Analysis of Artificial Vocality: Representations, Tools and Prospective
Bridger, Michael (1989). An Approach to the Analysis of Electroacoustic Music Derived from Empirical Investigation and Critical Methodologies of Other Disciplines
Camilleri, Lelio, Smalley, Denis (1998). The Analysis of Electroacoustic Music: Introduction
Clarke, Eric (1997). Perception and Critique: Ecological Acoustics, Critical Theory and Music
Couprie, Pierre (1999). Three Analysis Models for {L’oiseau moqueur}, one of the {Trois rêves d’oiseau} by François Bayle
Couprie, Pierre (2004b). Graphical Representation: An analytical publication tool for electroacoustic music
Delalande, François (2002b). Eine Musik ohne Noten: Einführung in das Hören und Analysieren elektroakustischer Musik (Music without Notes: An introduction concerning listening and the analysis of electroacoustic music)
Doati, Roberto (1991). György Ligeti’s {Glissandi}: An Analysis
Ferreira, Giselle Martins dos Santos (1997). A Perceptual Approach to the Analysis of J. C. Risset’s {Sud}: Sound, structure and symbol
Fischman, Rajmil (1997b). Analysis of {Crosstalk}: A work by Michael Vaughan
Gates, Philippa, Rudy, Paul (2005). Spectromorphology Hits Hollywood: Morphology, Objectification and Moral Messages in the Sound Design of ‘Black Hawk Down’
Giomi, Francesco, Ligabue, Marco (1998a). Understanding Electroacoustic Music: Analysis of narrative strategies in six early compositions
Harley, James (2002). The Electroacoustic Music of Iannis Xenakis
Hoopen, Christiane ten (1994a). Issues in Timbre and Perception
Hoopen, Christiane ten (1997). Perceptions of Sound: Source, cause and human presence in electroacoustic music
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Keane, David (1985). Architecture and Aesthetics: The Construction and the Objectives of {Elektronikus Mozaïk}
Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s {Till}
Landy, Leigh (1991). What’s the Matter with Today’s Experimental Music: Organized Sound too Rarely Heard
Landy, Leigh (1994a). Experimental Music Notebooks
Landy, Leigh (1994b). ‘The Something to Hold on to Factor’ in Electroacoustic Timbral Composition
Landy, Leigh (2000a). Music as Organised Notes and Sound: The electronic works of Ton de Leeuw
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
Lewis, Andrew (1987). Motion and the Analysis of Electro-Acoustic Music: Denis Smalley’s {Vortex}
McCartney, Andra (2000d). Sounding Places with Hildegard Westerkamp
McCartney, Andra (2002a). Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp’s {Cricket Voice} (or ‘I don’t like the country, the crickets make me nervous’)
Miksch, Bonnie, Couch III, Leon W. (1999). ’Blip, Buzz, Blurp’: The Challenge of Teaching New Ways to Listen
Mountain, Rosemary (2004a). Theories Market: Open for Trading
Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body
Pape, Gerard (2002). Iannis Xenakis and the ’Real’ of Musical Composition
Rizzardi, Veniero (1999). Notation, Oral Tradition and Performance Practice in the Works with Tape and Live Electronics by Luigi Nono
Roy, Stéphane (1996). Form and Referential Citation in a Work by Francis Dhomont
Rubin, Anna (2000). {Forêt Profonde} by Francis Dhomont - Representations of the Unconscious
Schaeffer, Pierre (1977). Traité des objets musicaux
SCHAEFFER, Pierre (1988). Tratado de los Objetos Musicales (traducción del original en francés, Traité des objets musicaux [version abrégée], por Araceli Cabezón de Diego)
Smith, Sophy (S. J.) (2005). The Compositional Proceses of UK Hip-Hop Turntable Teams
Voorvelt, Martijn (1998). British Post-punk Experimental Music (1977-1983)
Weale, Rob (2005a). The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2005b). The Intention/Reception Project: Investigating the Relationship Between Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2006). Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project
Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis
Williams, Tom (1993). {Vox V} by Trevor Wishart: The Analysis of an Electroacoustic Tape Piece
Young, John (1994). The Extended Environment
Young, John (2000). Letting the Ordinary Shine Through: British Acousmatic Music
Young, John (2004). Sound Morphology and the Articulation of Structure in Electroacoustic Music
YOUNG, John (2007). Reflections on sound image design in electroacoustic music
Zapf, Donna (1981b). Inside the Soundscape: The Compositions of Hildegard Westerkamp
Zattra, Laura (2004). Searching for Lost Data: Outlines of aesthesic-poietic analysis

 

Subsections

Top