Discorso sulla Musica Elettroacustica

Musicology of Electroacoustic Music [MEM]  ]

Categoria generale che raggruppa l’insieme dei termini che riguardano il discorso musicale e il potenziale di significazione della musica elettroacustica. Una definizione più generale del termine discorso designa evidentemente l’importante funzione della musica come processo sociale. Per questioni di organizzazione del Lessico, è stata introdotta una categoria complementare chiamata Aspetti Socio-Culturali della Musica Elettroacustica.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

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Adkins, Matthew (1999). Acoustic Chains in Acousmatic Music
Atkinson, Simon (2007). Interpretation and musical signification in acousmatic listening
Battier, Marc, Landy, Leigh (2004). Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools
Beaudoin, Richard (2007). Counterpoint and quotation in Ussachevsky’s {Wireless Fantasy}
Bosma, Hannah (1996). Authorship and Female Voices in Electrovocal Music
Boulanger, Richard (1984). Interview with Roger Reynolds, Joji Yuasa and Charles Wuorinen
Bridger, Michael (1989). An Approach to the Analysis of Electroacoustic Music Derived from Empirical Investigation and Critical Methodologies of Other Disciplines
Carter, Paul (1996). Speaking Pantomimes: Notes on {The Calling to Come}
Chagas, Paulo (2006). The blindness paradigm: The visibility and invisibility of the body
Chapman, Jane (2000). Points of Departure: An Interview with Simon Emmerson
Cremaschi, Andrea , Giomi, Francesco (eds.) (2005a). Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works)
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)
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)
Dyson, Frances (1994). Radio Art in Waves
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Emmerson, Simon (2001c). {Pentes:} A Conversation with Denis Smalley
Emmerson, Simon (2001d). The Electroacoustic Harpsichord
Emmerson, Simon (Ed.) (2000d). Music, Electronic Media and Culture
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)
Garcia, Denise (2000). Body Representations in the Electroacoustic Music
Gates, Philippa, Rudy, Paul (2005). Spectromorphology Hits Hollywood: Morphology, Objectification and Moral Messages in the Sound Design of ‘Black Hawk Down’
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)
Harvey, Jonathan (1986). The Mirror of Ambiguity
Hiller, Lejaren (1989). {Electronic Sonata}
Iddon, Martin (2006). On the entropy circuit: Brian Ferneyhough’s {Time and Motion Study II}
Janzen, Thomas E. (1986). Aesthetic Appeal in Computer Music
Janzen, Thomas E. (1989). Aesthetic Appeal in Computer Music
Kahn, Douglas (1999). Noise, Water, Meat: A History of Sound in the Arts
Keane, David (1981). The Quest for ‘Musically Interesting’ Structures in Computer Music
Keane, David (1989a). Some Practical Aesthetic Problems of Electronic Music Composition
Keane, David (1989b). The Quest for “Musically Interesting” Structures in Computer Music
Landy, Leigh (2000a). Music as Organised Notes and Sound: The electronic works of Ton de Leeuw
Licata, Thomas (Ed.) (2002b). Electroacoustic Music: Analytical Perspectives
Lydenberg, Robin (1992). Sound Identity Fading Out: William Burroughs’ Tape Experiments
Machover, Tod (1986). A Stubborn Search for Artistic Unity
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)
Mion, Philippe (2007). Analytical commentaries of {Les voix de Pierre Schaeffer} by Christian Zanési
Misch, Imke, Blümröder, Christoph von (Eds.) (2002). François Bayle - L’image de son/Klangbilder: Technique de mon écoute/Technik meines Hörens (Sound Image/The technique of my listening)
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.)
Norman, Katharine (2004). Sounding Art: Eight Literary Excursions through Electronic Music
Okkels, Ingeborg, Conrad, Anders (2000). Bricoleur and Engineer in Computer Music
Polansky, Larry (1983). Interview with David Rosenboom
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Richard, Dominique M. (1994). Computer Music and the Post-modern: A Case of Schizophrenia
Riddell, Alistair M. (1996). Music in the Chords of Eternity
RISSET, Jean-Claude (1982). Tecniche digitali del suono: influenza attuale e prospettive future in campo musicale (Digital sound techniques: current influences and future perspectives in music)
Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?
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)
SCHACHTER, Daniel (2007). Towards new models for the construction of interactive electroacoustic music discourse
Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
Smalley, Denis (1994). Defining Timbre - Refining Timbre
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
Thaemlitz, Terre (no date). The Go Between/Notions of Betweenness
Truax, Barry (1996a). Electroacoustic Symbolism in {Powers of Two: The Artist}
Truax, Barry (1996c). Sounds and Sources in {Powers of Two}: Towards a contemporary myth
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 (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)

 

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