Grammatica

Musicology of Electroacoustic Music [MEM]  > 

Analisi

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Analisi strutturale

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Nel campo della composizione e dell’analisi musicale, il termine è usato in analogia con le funzioni e le regole grammaticali del linguaggio e con le regole operative utilizzate nel calcolo. Il termine viene associato ai tentativi di formalizzare la conoscenza musicale e le risposte percettive dell’uditore. Nel campo della composizione, può essere impiegata per definire le unità microstrutturali e per organizzarle in macrostrutture con procedure operative. Viene associata per esempio alla stocastica, ai frattali e agli approcci generativi. Gli approcci formali, nell’ambito dell’analisi, permettono di definire le regole grammaticali per modellizare la risposta percettiva alla musica da parte degli uditori. Tra coloro che studiano le grammatiche formali, molti si interessano alla modellizzazione del processo di composizione, spesso grazie all’informatica.

 

See also

Automa Cellulare

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Composizione basata su Restrizioni (Constraint-based Composition)

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Formalismo

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Musica generativa

,

Musica stocastica

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Appleton, Jon (1996). Musical Storytelling
Barrière, Jean-Baptiste (1989). Computer Music as Cognitive Approach: Simulation, Timbre and Formal Processes
Boehmer, Konrad (2002). Koenig - Sound Composition - {Essay}
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Bridger, Michael (2002). Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listeners’ Response
Burns, K. H. (2004). Algorithmic Composition
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}
Delalande, François (1989). Éléments d’analyse de la stratégie de composition
DeLio, Thomas (2002). {Diamorphoses} by Iannis Xenakis
Desainte-Catherine, Myriam, Nicouleau, Edgar (2000). Segmentation et formalisation d’une œuvre électroacoustique
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
Ferrari, Giordano (2005). {Perspectivae sintagma I} : une analyse
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Järveläinen, Hanna (2001). Algorithmic Musical Composition
Kohl, Jerome (2002). Serial Composition, Serial Form, and Process in Karlheinz Stockhausen’s {Telemusik}
Kröpfl, Francisco (1998). Organizing Sound in Electroacoustic Music, questions and Hints: a Proposal of Exploration for the Young
Laske, Otto (2002). Subscore Manipulation as a Tool for Compositional and Sonic Design
Licata, Thomas (2002a). Luigi Nono’s {Omaggio a Emilio Vedova}
Lorieux, Grégoire (2004). Une analyse d’{Amers} de Kaija Saariaho
Normandeau, Robert (1993). ... et vers un cinéma pour l’oreille
Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures
Roads, Curtis (1979). Grammars as Representations for Music
Rowe, Robert (1995). Incrementally Improving Interactive Music Systems
Roy, Stéphane (1993). Analyse des œuvres acousmatiques: quelques fondements et proposition d’une méthode
Roy, Stéphane (1998). Functional and Implicative Analysis of {Ombres Blanches}
Sani, Nicola (1996). Reflexions on the Analysis of Electroacoustic Music
Ungeheuer, Elena, Decroupet, Pascal (1998). Through the Sensory Looking-glass: the Aesthetic and Serial Foundations of {Gesang des Jünglinge}
Vidolin, Alvise (1980). Interazione fra i livelli di rappresentazione dell’informazione musicale nella composizione mediante elaboratore (Interaction among the representation levels of musical data in computer music composition)
Vidolin, Alvise (ed.) (1980). Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)

 

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