Musicologie et musique électroacoustique [MME]

La musicologie est simplement l’étude de la musique. Appliquée à l’électroacoustique, elle est donc l’étude de la musique électroacoustique. Elle peut être décomposée en trois champs d’études se superposant : l’histoire, l’étude systématique de ses éléments et la sociologie.

L’étude historique permet d’observer la musique d’une manière diachronique ou synchronique en tenant compte de l’ensemble des aspects musicologiques et technologiques pertinents. Le corpus d’étude s’étend des musiques électroacoustiques les plus complexes aux formes les plus populaires.

L’étude sociologique de l’électroacoustique se concentre sur l’impact de cette musique sur notre écoute, sur notre culture du son ainsi que sur notre relation à l’ensemble des sons qui nous entourent.

En conclusion, cette étude systématique comprend un ensemble de domaines dont beaucoup se concentrent sur les questions théoriques, sans que cet aspect soit toutefois exclusif. La liste suivante présente le large éventail de sujets couverts par ce domaine de recherche :

- les nouvelles théories concernant l’art du son ;
- la classification des sons (de bas et de haut niveau) ;
- les catégories d’études/d’œuvres ;
- la (re)synthèse du son ;
- la manipulation du son ;
- l’analyse du spectre ;
- la spectromorphologie ;
- les nouveaux instruments ;
- les interfaces de jeu et d’interaction ;
- les nouveaux protocoles pour le contrôle numérique du son ;
- les nouvelles approches de la performance (contextualisées) ;
- le multimédia ;
- le son et l’espace, l’acoustique ;
- les nouveaux modes de notations et de représentations ;
- les nouvelles approches analytiques ;
- la classification des sons (bas niveau) ;
- la classification des structures musicales électroacoustiques (haut niveau) ;
- l’intelligence artificielle ;
- les modalités d’écoute et de perception ;
- la psychoacoustique, la cognition et la sémiotique ;
- l’information liée à l’archivage ;
- l’esthétique, la philosophie et la critique.

(Source : Leigh Landy (1999). "Reviewing the Musicology of Electroacoustic Music". Organised Sound Vol. 4, No. 1. Cambridge: Cambridge University Press: 61-70.)

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

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ASUAR, José Vicente (1959). En el umbral de una nueva era musical (At the doorstep of a new musical era)
ASUAR, José Vicente (1963). Música electrónica: poética musical de nuestros días (Electronic music: musical poetics of nowadays)
ASUAR, José Vicente (1972a). Música con Computadores: ¿cómo hacerlo..? (Music with computers: how to do it..?)
ASUAR, José Vicente (1975). Recuerdos (Memories)
Atkinson, Simon, Landy, Leigh (2004). The ElectroAcoustic Resource Site (EARS): Philosophy, foundation and aspirations
Battier, Marc (2004). Electroacoustic Music Studies and the Danger of Loss
Battier, Marc, Landy, Leigh (2004). Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools
Battistelli, Giorgio (1995). Tecnologia e drammaturgia (Technology and dramaturgy)
BÉHAGUE, Gerard (1983). La música en América Latina (Music in Latin America)
Bernardini, Nicola, Vidolin, Alvise (1995). Piccola economia della musica elettronica (The micro-economics of electronic music)
BLANCO, Juan (2001). Para una historia de la música electroacústica en Cuba (For a history of the electroacoustic music in Cuba)
Boulez, Pierre (1986). Technology and the Composer
Chadabe, Joel (1997b). Electric Sound: The Past and Promise of Electronic Music
CLARO, Samuel (1965). Panorama de la música experimental en Chile (Panorama of experimental music in Chile)
Cox, Christoph, Warner, Daniel (2004). Audio Culture: Readings in Modern Music
Dal Farra, Ricardo (2003). Electroacoustic music in Latin America
Dal Farra, Ricardo (2003a). Historical aspects of Electroacoustic Music in Latin America: From the Pioneering to the Present Days
Dal Farra, Ricardo (2006a). A Journey of Sound through the Electroacoustic Wires. Art and New Technologies in Latin America (Un voyage du son par les fils électroacoustiques : L’art et les nouvelles technologies en Amérique Latine)
De Benedictis, Angela Ida (2004a). Scrittura e supporti nel Novecento: alcune riflessioni e un esempio ({Ausstrahlung} di Bruno Maderna) (Writing and support in 20th century music: some remarks and an example ({Ausstrahlung} by Bruno Maderna))
Delalande, François (2007). The technological era of ‘sound’: a challenge for musicology and a new range of social practices
Durante, Sergio, Zattra, Laura (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)
FIELDS, Kenneth (2007). Ontologies, categories, folksonomies: an organised language of sound
GENTILUCCI, Armando (1972 (reprinted 1983 4th ed., 1990 9th ed.)). Introduzione alla Musica Elettronica (Introduction to electronic music)
Giomi, Francesco (2002). Scuole storiche italiane di musica elettronica (Historical electronic music schools in Italy)
Giorgio, Battistelli (1995). Tecnologia e drammaturgia (Technology and dramaturgy)
Heifetz, Robin Julian (Ed.) (1989b). On the Wires of Our Nerves: The Art of Electroacoustic Music
HERRERA, Silvia (2005). Gabriel Brncic: Un primer acercamiento hacia el compositor y maestro chileno en el exilio (Gabriel Brncic: A first approach to the Chilean composer and maestro in his exile)
Hodgkinson, Tim (2001). An Interview with Pierre Schaeffer
Justel, Elsa (2000). The Formal structures in the music of electronic production
Kahn, Douglas, Whitehead, Gregory (Eds.) (1993). Wireless Imagination: Sound, Radio, and the Avant-Garde
Kugel, Peter (1990). Myhill’s Thesis: There’s More than Computing in Musical Thinking
Landy, Leigh (1999a). Reviewing the Musicology of Electroacoustic Music: A plea for greater triangulation
Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship
Landy, Leigh (2006c). Electroacoustic Music Studies and Accepted Terminology: You can’t have one without the others
Landy, Leigh (2007a). Understanding the Art of Sound Organization
Landy, Leigh (2007b). La musique des sons/The Music of Sounds
Landy, Leigh (2007c). The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young
Landy, Leigh (2007d). The ElectroAcoustic Resource Site (EARS)
Landy, Leigh, Atkinson, Simon (2003b). Introducing the ElectroAcoustic Resource Site (EARS)
LINTZ MAUÉS, Igor (1989). Música Eletroacústica no Brasil. Composição utilizando o meio eletrônico (1956 - 1981) (Electroacoustic Music in Brazil: Composition using the electronic media (1956 - 1981))
LOCATELLI DE PÉRGAMO, Ana María (1973). La notación de la música contemporánea (The notation of contemporary music)
Manning, Peter (2004). Electronic and Computer Music - Revised and Expanded Edition
MORAWSKA-BüNGELER, Marietta (1988). Schwingende Elektronen. Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunks in Köln 1951-1986 (Swinging Electrons. A Documentation of the Electronic Music Studio at the WDR Cologne 1951-1986.)
ODGERS, Alejandra (2000). La Música Electroacústica en Mexico (Electroacoustic Music in Mexico)
PARASKEVAÍDIS, Graciela (2000). Eduardo Bértola. Un retrato del compositor argentino (1939-1996) (Eduardo Bértola. A portrait of the Argentinean composer (1939-1996))
PAVÓN SARRELANGUE, Raúl (1981). La Electrónica en la Música ... y en el Arte (Electronics in Music ... and the Arts)
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Risset, Jean-Claude (1999c). Évolution des outils de création sonore
ROCHA ITURBIDE, Manuel (2004). Cronología Comparada de la Historia de la Música Electroacústica en Mexico (Correlated Chronology of Mexican Electroacoustic Music History)
Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
SCHATT, Peter W. (2005). L’arte della transizione : funzioni dell’elettronica in {Mixtur} di Karlheinz Stockhausen (The art of transition: electronic functions in {Mixtur} by Karlheinz Stockhausen)
SEGNINI-SEQUERA, Rodrigo (1994). Comprender la música electroacústica y su expresión en Venezuela (To understand electroacoustic music and its expression in Venezuela)
SOSA, Rogelio (2004). Nuevas poéticas electroacústicas (New electroacoustic poetics)
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
UNGEHEUER, Elena (1992). Wie die elektronische Musik »erfunden« wurde...Quellenstudien zu Werner Meyer-Epplers Entwurf zwischen 1949 (How Electronic Music was “Discovered”…Source study of Werner Meyer-Eppler’s Plan between 1949 and 1953)
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Wishart, Trevor (1996a). On Sonic Art - Revised Edition
WOLL, Thomas (1994). Nacionalismo ex machina. Zur Geschichte der elektroakustischen Musik in Mexiko (On the History of Electroacoustic Music in Mexico)
Zattra, Laura, Durante, Sergio (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)

 

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