Aspects socioculturels de la musique électroacoustique

Musicologie et musique électroacoustique [MME]

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Comme la musique est un phénomène culturel, l’étude de ses aspects socioculturels permet une meilleure compréhension de sa place dans une culture donnée à un moment donné. La musique électroacoustique, domaine extrême de l’histoire de la musique, a eu une influence considérable sur la culture qui l’a vue naître. Ce terme désigne donc l’étude de la musique électroacoustique à partir de points de vus sociologiques et anthropologiques.

 

Links

UNESCO DigiArts

- History of electronic music in Asia and the Pacific ( English )
- History of electronic music in Latin America and the Caribbean ( English )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 4 - Ruptures technologiques: révolutions esthétiques? ( French )
- Young Digital Creators: The sound of our water ( English , French , Spanish )
- Young Digital Creators: Scenes and sounds of my city ( English , French , Spanish )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-180 | 181-240 | 241-300 | 301-360 | 361-382 | >> 60 next

Sousa, John Phillip (1993). Machine Songs IV: The Menace of Mechanical Music
Spiegel, Laurie (1996). That was Then - This is Now
Stefani, Ewan (2002). Commodity Music
Sterne, Jonathan (2003). Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space
Stiegler, Bernard (2003). Bouillonnements organologiques et enseignement musical
Stiegler, Bernard, Dessy, Jean-Paul, Franck, Philippe (2003). Le train. Sur quelques enjeux et (r)évolutions des musiques d’aujourd’hui
STROH, Wolfgang Martin (1975). Zur Soziologie der elektronischen Musik (Towards a Sociology of Electronic Music)
Subotnick, Mort, Machover, Tod (1995). Interview with Mort Subotnick
Tanzi, Dante (2001). Music Negotiation: Routes in user-based description of music
Taylor, Timothy D. (2001). Strange Sounds: Music, Technology and Culture
Thaemlitz, Terre (2003). GLOBULE of NON-STANDARD: An attempted clarification of globular identity politics in Japanese electronic ‘sightseeing music’
Théberge, Paul (1997). Any Sound You Can Imagine: Making Music/Consuming Technology
Théberge, Paul (2003). “Ethnic Sounds”: The Economy and Discourse of World Music Sampling
Thibault, Alain (2002). Culture numérique et électroacoustique
Thomson, Phil (2005). Soundscape Composition, Globality, and Implicated Critique
Tiffon, Vincent (2003). La partition, le phonographe et l’échantillonneur : usages de la copie en musique
Tono, Tanami (1996). The Synthesis of Tradition and Technology
Toop, David (1995). Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds
Traub, Peter (2005). Sounding the Net: Recent Sonic Works for the Internet and Computer Networks
Truax, Barry (1992a). Electroacoustic Music and the Soundscape: The Inner and Outer World
Truax, Barry (1996d). Sounds and Sources in {Powers of Two} Towards a Contemporary Myth
Truax, Barry (1996f). Computer Music as Commercial or Public Culture: A Personal View
Truax, Barry (1998b). Letter to a 25 year-old electroacoustic composer
Truax, Barry (1999b). Letter to a Twenty-Five Year Old Electroacoustic Composer
Truax, Barry (2001b). Acoustic Communication - Second Edition
Truax, Barry (2002a). Electroacoustic Music and the Digital Future
Truax, Barry (2003). Homoeroticism and Electroacoustic Music: Absence and Personal Voice
Turner, Tad (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musics
Umezaki, Kojiro (1992). The Future Role of Japanese Musicians and Composers in Music Technology
Vanhanen, Jane (2003). Virtual Sound: Examining Glitch and Production
Veitl, Anne (2001). Les musiques électroacoustiques et la politique culturelle : repères historiques
Vickery, Lindsay (2001). The Western Edge: Some recent electronic music from Western Australia
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Viñao, Alejandro (1989). An Old Tradition We Have Just Invented
Vincent, Simon (2003). Mixes and Modulations
Waters, Simon (1994). Timbre Composition: Ideology, Metaphor and Social Process
Waters, Simon (2000b). Beyond the Acousmatic: Hybrid Tendencies in Electroacoustic Music
Watson, Ben (1996). Frank Zappa as Dadaist: Recording Technology and the Power to Repeat
Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis
Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?
Whalley, Ian (2005). Traditional New Zealand Mäori Instruments, Composition and Digital Technology: Some recent collaborations and processes
Whistlecroft, Lisa (2000). Women in Music Technology in Higher Education in the UK
Whitelaw, Mitchell (2003). Sound Particles and Microsonic Materialism
Wishart, Trevor (1986b). The Environment for Computer Music Composition
Wishart, Trevor (1991). Computer Music and Post-Modernism
Wishart, Trevor (1992). Music and Technology: Problems and Perspectives
Wishart, Trevor (1996b). The Situation of the Sonic Arts Today
WOLL, Thomas (1994). Nacionalismo ex machina. Zur Geschichte der elektroakustischen Musik in Mexiko (On the History of Electroacoustic Music in Mexico)
Worby, Rob (2000). Cacophony
Wrightson, Kendall (2002). An Introduction to Acoustic Ecology
Wynne, John (2006). Language ecology and photographic sound in the McWorld
Wörner, Karl (1973). Stockhausen: Life and Work
Ying, Yu (1999). Sound of China: Computer Music
Young, Miriama (2006). Latent body-plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology
Zajicek, Libor (1995). The History of Electroacoustic Music in the Czech and Slovak Republics
Zanèsi, Christian, Gayou, Évelyne (2007). A house of composers
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)
Zicarelli, David (1992). Music Technology as a Form of Parasite
Zicarelli, David (2002). How I Learned to Love a Program That Does Nothing
Zimmermann, Basile (2005). Technology Is Culture: Two Paradigms

 

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