Sonogramm

Wissenschaft Elektroakustischer Musik [WEM]

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Bibliography:

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Alphabetical order - Chronological order

Baranski, Sandrine (2006). Analyse perceptive en vue de l’étude du rapport texte/musique dans {Gesang des Jünglinge} (Le chant des adolescents) de Karlheinz Stockhausen
Bossis, Bruno (2004a). {Mortuos Plango, Vivos Voco} de Jonathan Harvey ou le miroir de la spiritualité
Brech, Martha (1994). Analyse elektroakustischer Musik mit Hilfe von Sonagrammen (Analysis of Electroacoustic Music with the Help of Sonagrams)
Brookes, Tim, Tyrell, Andy, Howard, David (1996). Musical Analysis Using a Real-Time Model of Peripheral Hearing
Cogan, Robert (1984). New Images of Musical Sound
Cogan, Robert (1986). Imaging Sonic Structure
Couprie, Pierre (1999). Three Analysis Models for {L’oiseau moqueur}, one of the {Trois rêves d’oiseau} by François Bayle
Couprie, Pierre (2002a). Analyse comparée des {Trois rêves d’oiseau} de François Bayle
Couprie, Pierre (2004a). La place de l’informatique et du multimédia dans l’analyse des musiques électroacoustiques
Couprie, Pierre (2004c). Des outils pour l’analyse de la musique électroacoustique
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 (1998). Music Analysis and Reception Behaviours: {Sommeil} by Pierre Henry
DeLio, Thomas (2002). {Diamorphoses} by Iannis Xenakis
Di Scipio, Agostino (1998). Compositional Models in Xenakis’s Electroacoustic Music
Di Scipio, Agostino (2000). An Analysis of Jean-Claude Risset’s {Contours}
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s {Contours}
Erbe, Marcus (2003). {Vibrations composées}
Harchanko, Joseph (2003). Spectro-morphology and Structure. An Analysis of Gilles Gobeil’s {Le Vertige Inconnu}
Helmuth, Mara (1996). Multidimensional Representation of Electroacoustic Music
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Howard, David M., Tyrrell, Andy M. (1997). Psychoacoustically Informed Spectography and Timbre
Hufschmitt, Aline (2001). Continuité ou discontinuité ? Un exemple de perception changeante de la fin de {Sud}
Küpper, Leo (2000). Le temps audio-numérique
Leipp, Émile (1968). La musique expérimentale au laboratoire d’acoustique
Licata, Thomas (2002a). Luigi Nono’s {Omaggio a Emilio Vedova}
Nucibella, Francesca, Zattra, Laura (2005). Audio content tools for the musicological analysis of electroacoustic music
Piszczalski, Martin, Galler, Bernard A. (1977). Automatic Music Transcription
Racot, Gilles (2002d). Anatomies d’écoutes
Risset, Jean-Claude (1986a). Timbre et synthèse des sons
Risset, Jean-Claude (2001b). Problèmes posés par l’analyse d’œuvres musicales dont la réalisation fait appel à l’informatique
Rusch, Simon, Behnke, Julia (2003). {Tremblement de terre très doux}
Serafin, Stefania, Kojs, Juraj (2005). Computer Models and Compositional Applications of Plastic Corrugated Tubes
Thies, Wolfgang (1985). Notationsmöglichkeiten für elektronische Musik (Possibilities of Electronic Music Notation)
Thies, Wolfgang (1987). Vorschläge für eine physikalisch-akustische Notation elektronischer Musik
Tiffon, Vincent (2002). Jean-Claude Risset : {Sud} (1985)
Tiffon, Vincent (2006). La représentation sonagraphique est-elle une aide pour l’analyse perceptive de la musique électroacoustique ?
Twombly, Kristian (2002). Oppositional Dialectics in Joji Yuasa’s {The Sea Darkens}
Waters, Simon, Ungvary, Tamas (1990). The Sonogram: A Tool for Visual Documentation of Musical Structure
Zattra, Laura (2004). Searching for Lost Data: Outlines of aesthesic-poietic analysis

 

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