Impact de la musique électroacoustique

Musicologie et musique électroacoustique [MME]

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Aspects socioculturels de la musique électroacoustique

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Cette discipline associe l’enseignement, l’apprentissage de la musique électroacoustique, les concepts, les contextes sociaux et culturels, les possibilités créatives, la critique, l’histoire et les technologies intéressant les personnes de tous âges, de tous milieux et de toutes compétences.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-83 | >> 60 next

Ang, Minni K. (2001). Recent and Emerging Work in Music Technology in Southeast Asia
Battistelli, Giorgio (1995). Tecnologia e drammaturgia (Technology and dramaturgy)
Bernardini, Nicola (1986). Live electronics
Bernardini, Nicola, Vidolin, Alvise (1995). Piccola economia della musica elettronica (The micro-economics of electronic music)
Boeswillwald, Pierre (1996). Analysis in the Electroacoustic World
Breinbjerg, Morten, Caprani, Ole, Lunding, Rasmus, Kramhøft, Line (2006). An Acousmatic Composition Environment
Chadabe, Joel (2003). Where We’re Going
Chadabe, Joel (2004a). Electronic Music and Life
Copeland, Darren (2003). Survival Strategies for Electroacoustic Music
Cremaschi, Andrea , Giomi, Francesco (eds.) (2005a). Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works)
D’Arcangelo, Gideon (2002). Creating a Context for Musical Innovation: A NIME Curriculum
Dahlhaus, Carl (1974). Ästhetische Probleme der elektronischen Musik (Aesthetic problems related to electronic music)
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)
Davies, Hugh (1986). Storia ed evoluzione degli strumenti musicali elettronici (Historical evolution of electronic music instruments)
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))
Doati, Roberto, Vidolin, Alvise (1986). Nuova Atlantide. Il continente della musica elettronica 1900-1986 (New Atlantis. The electronic music continent 1900-1986)
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)
Emmerson, Simon (1989). Composing Strategies and Pedagogy
FABBRI, Franco (1998). Invenzioni, espropri, saccheggi: la “musica elettronica” è anche popular (Inventing, expropriating, stealing: “electronic music” is also popular)
Favaro, Roberto (ed.) (2002). Musica e tecnologia domani. Convegno internazionale sulla musica elettroacustica. Teatro alla Scala 20-21 novembre 1999 (Music and technology tomorrow. International conference on electroacoustic music. Teatro alla Scala, 1999, November 20-21)
GALANTE, Francesco, PESTALOZZA, Luigi (eds.) (1998). Metafonie. Cinquanta anni di musica elettroacustica (Metaphonies. Fifty years of electroacoustic music)
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)
Hannemann, Beate (1999). Tod dem Mondschein (Death of the moonlight)
Hugill, Andrew (2005b). From Online Symphonies to MusiMOO: Some Creative Uses of the Internet in Music and Education
Keane, David (1979). Some Aspects of Teaching Electronic Music Composition
Kimura, Mari (1996). Computers for Performers-Crossing the Boundaries for the Future
KOENIG, Gottfried Michael (1998). Studium im studio (1959)
Landy, Leigh (1988). How Often Have you Seen Your Compositions Performed? A Plea for More Audio-visual Collaborations in Experimental Music
Landy, Leigh (1991). What’s the Matter with Today’s Experimental Music: Organized Sound too Rarely Heard
Landy, Leigh (2001a). From Algorithmic Jukeboxes to Zero-time Synthesis: A potential A-Z of music in tomorrow’s world (a conference provocation)
Landy, Leigh (2003a). Voulez-vous changer votre paradigme avec moi ce soir?
Landy, Leigh (2004). There’s Good News and There’s Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to
Marinelli, Elisabetta (ed.) (1995). Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia (The Elettra Complex. Mapping research centres and musical production in Italy)
Martin, Jean (2000). An Interview with Trevor Wishart
MEYER-EPPLER, Werner (1965). Informationstheoretische Probleme der musikalischen Kommunikation (Musical communication as a problem of information theory)
Milicevic, Mladen (2001). Cyberspace Memes
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.)
PALOMBA, Cristina (1998). Pierre Schaeffer : alla ricerca dell’oggetto sonoro (Pierre Schaeffer : searching the sound object)
Pennycook, Bruce (1986). Language and Resources: A New Paradox
Savage, Jonathan, Challis, Mike (2001). Sound Reflections: The Influence of Acoustic Ecology on Classroom Composition
Scaldaferri, Nicola (1997). Musica nel laboratorio elettroacustico. Lo Studio di Fonologia di Milano e la ricerca musicale negli anni Cinquanta (Music in the electroacoustic laboratory. The Studio di Fonologia in Milan and musical research in the 1950s)
SCALDAFERRI, Nicola (1998). Documenti inediti sullo Studio di Fonologia Musicale della Rai di Milano (Unpublished documentation at the Studio di Fonologia Musicale della Rai di Milano)
Thorington, Helen (2006). The networked_performance blog
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)
VALENTINO, Roberto (1986). Le altre elettroniche (Other electronics)
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Voegelin, Salomé (2004). How Can You Hear It When You Don’t Know What You Are Listening For? - The Need For a Critical Context of Listening
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
Wee, Cecilia (2002). Discussing Some Effects of Technology on Musical Participation in Contemporary Society
Weinberg, Gil (2002a). Playpens, Fireflies and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful
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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