Esperienza di Ascolto

Musicology of Electroacoustic Music [MEM]  ]

L’esperienza e lo studio dell’ascolto sono una parte importante nelle ricerche di musica elettroacustica. molte musiche elettroacustiche privilegiano l’ascolto in quanto atto creativo. Le pratiche di creazione e ricerca hanno evidenziato situazioni numerose e differenziate nelle quali viene esperita la musica elettroacustica, come pure di varie attese durante il processo di ascolto. Il termine comprensivo include importanti questioni quali: dove ascoltiamo, la presentazione, l’esecuzione e la spazializzazione della musica, ciò che ascoltiamo nella musica (cioè i problemi di senso e significato), le scoperte e le teorie legate alla maniera di ascoltare. Vengono inclusi anche le questioni sociali e culturali del fare la musica elettroacustica.

 

Bibliography:

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Dunn, David (2001). Nature, Sound Art, and the Sacred
Emmerson, Simon (1998b). Aural Landscape: Musical Space
Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Emmerson, Simon (Ed.) (2000d). Music, Electronic Media and Culture
Farabet, René (1991). Au commencement était l’oreille
Feld, Steven, Palombini, Carlos (2001). Thoughts on Recording Soundscapes
Fischer, Michel (1993). Acuité d’écoute “acousmatique” et itinéraire timbrique
Fischman, Rajmil (1994b). Music for the Masses
Fort, Bernard (2001). De l’animation à l’édition d’outils pédagogiques
François, Jean-Charles (1972). La musique électronique est éducation
Freire, Sérgio (2003). Early Musical Impressions from Both Sides of the Loudspeaker
Gallet, Bastien (2002). Le boucher du prince Wen-houei
Gaudin, jean-Yves (1988). Pédagogies nouvelles pour nouvelles technologies... ?
Gobin, Pascal, Delalande, François (1998). Les unités sémiotiques temporelles : un niveau d’analyse de l’organisation musicale du temps
Harrison, Jonty (2000). Imaginary Space - Spaces in the Imagination Australasian Computer Music Conference 1999 Keynote Address
Harvey, Lawrence (2000). The Occupation of Space; {Sound Sites}
Iazzetta, Fernando (2000). Meaning in Musical Gesture
Janzen, Thomas E. (1986). Aesthetic Appeal in Computer Music
Janzen, Thomas E. (1989). Aesthetic Appeal in Computer Music
Kaltenecker, Martin (2005). L’en-delà du concret, notes pour une physionomie musicale de Michel Chion
Kröpfl, Francisco (1995). Experiences and Reflexions on Electroacoustic Music
Küpper, Leo (2000). Le temps audio-numérique
Labelle, Brandon (2006). Phantom Music: radio, memory, and narratives from auditory life
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
Landy, Leigh (2006a). The Intention/Reception Project
Lemaître, Dominique (1987). Vous avez dit acousmatique
Levaux, Benjamin (2002). {Trois études}
Link, Stan (2001). The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise
Mâche, François-Bernard (1986). Le “concert collectif” chronique d’une expérience
McCartney, Andra (1998a). Soundwalk in the Park with Hildegard Westerkamp
Mead, Philip (1986). The Problems of Tape Presentation
Miksch, Bonnie, Couch III, Leon W. (1999). ’Blip, Buzz, Blurp’: The Challenge of Teaching New Ways to Listen
Milicevic, Mladen (1999a). Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music
Minjard, Jean-François (1994). La transparence, matériau et écriture, dans l’œuvre de François Bayle
Mion, Philippe, Nattiez, Jean-Jacques, Thomas, Jean-Christophe (1982). L’envers d’une œuvre. {De Natura Sonorum} de Bernard Parmegiani
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)
Norman, Katharine (2000). Stepping Outside for a Moment: Narrative Space in Two Works for Sound Alone
Nucibella, Francesca, Zattra, Laura (2005). Audio content tools for the musicological analysis of electroacoustic music
Oliveros, Pauline (2001). The Poetics of Environmental Sound
Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body
Pachet, Francois (1999). Escuchar música: ¿qué es lo que se toca? (Listening to music: What is being played?)
Pallandre, Jean (2001). Invention et pédagogie
Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Poullin, Jacques (1957). Son et espace
Régnault, Cécile (2001). Correspondances entre graphisme et son : les représentations visuelles de “l’objet sonore”
Reibel, Guy (1976). Rôle du {Traité des objets musicaux} de Pierre Schaeffer dans l’enseignement de la musique électro-acoustique
Risset, Jean-Claude (1998). Quelques observations sur l’espace et la musique aujourd’hui
Risset, Jean-Claude (2005). Quelques points de vue sur l’invisible
Rousselier, Samuel (2002). Sonorités élastiques
Roy, Stéphane (2006). L’analyse formelle en quête de significations profondes
Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?
Sani, Nicola (1998). Fifty Years of Electroacoustic Music: Where do we go from here?
Savouret, Alain (1996). Analysis in Electroacoustic Music
Savouret, Alain (2000). Nouvel article
Savouret, Alain (2002). Electroacoustique et perspective phonoculturelle
Schaeffer, Pierre, Pierret, Marc (1969). Entretiens avec Pierre Schaeffer
Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
Schrader, Barry (1982). Introduction to Electro-acoustic Music
Smalley, Denis (1991). Spatial Experience in Electro-acoustic Music

 

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