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Musicology of Electroacoustic Music [MEM]  > 

Esperienza di Ascolto

 ]

Il termine viene spesso utilizzato in un’accezione molto generale che fa riferimento al “colore” del suono. Spesso, in maniera esatta, viene indicato come parametro di un suono, accanto ad altri come la frequenza o altezza. La creazione e la ricerca musicale elettroacustica hanno messo in luce l’imprecisione di questa definizione e hanno cominciato aperto la nozione di timbro ad un senso più complesso e proteiforme, all’interno del quale il timbro traccia una relazione fragile e continua tra la frequenza, il contenuto spettrale, l’identità sonora, e il riconoscimento della fonte. Questa nuova definizione ha portato ad una situazione in cui, in molti esempi musicali, è difficile separare il timbro dal discorso musicale.
Seguono alcune definizioni recenti.
Fisionomia generale dei suoni il cui insieme degli elementi spettromorfologici permette di attribuire loro un’identità (Fonte - Denis Smalley (1994). Defining Timbre - Refining Timbre. Contemporary Music Review Vol. 10, Part 2. London: Harwood Academic Publications.).
Insieme dei parametri di altezza, durata, ampiezza, componenti spettrali, evoluzione dinamica, ecc. che determinano il colore di un suono (Fonte - Dictionnaire des arts médiatiques: http://www.dictionnairegram.org).

 

See also

Parametri del suono

,

Immagine Sonora

,

Trasformazione del suono

,

Legame con la fonte (Source Bounding)

,

Riconoscimento della fonte

,

Fusione spettrale

,

Surrogacy

 

Links

UNESCO DigiArts

- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 1 - Quelques réflexions sur les relations entre le son et la musique ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-99 | >> 60 next

Adamo, Muriel (2005). {Danse de mort}
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Bernardini, Nicola, Rudi, Jøran (2002). Compositional Use of Digital Audio Effects
Boehmer, Konrad, Zanési Christian, (1995). Histoire du studio de la WDR de Cologne
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno (2004a). {Mortuos Plango, Vivos Voco} de Jonathan Harvey ou le miroir de la spiritualité
Bossis, Bruno (2005d). L’intervocalité ou les avatars de la voix dans le matériau sonore
Chowning, John (2005). Composer le son lui-même
Dahlhaus, Carl (1974). Ästhetische Probleme der elektronischen Musik (Aesthetic problems related to electronic music)
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}
Delalande, François (1996). Musique électroacoustique, coupure et continuité
Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation
Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis’ Electroacoustic Music
Doati, Roberto, Vidolin, Alvise (1986). Nuova Atlantide. Il continente della musica elettronica 1900-1986 (New Atlantis. The electronic music continent 1900-1986)
Dufour, Hugues (1999). Pierre Schaeffer : le son comme phénomène de civilisation
Emmerson, Simon (1994b). ’Live’ versus ’Real-time’
Fennely, Brian (1967). A Descriptive Language for the Analysis of Electronic Music
Ferrari, Giordano (2005). {Perspectivae sintagma I} : une analyse
Fischer, Michel (1993). Acuité d’écoute “acousmatique” et itinéraire timbrique
François, Jean-Charles (1990). Fixed Timbre, Dynamic Timbre
Hoopen, Christiane ten (1997). Perceptions of Sound: Source, cause and human presence in electroacoustic music
Howard, David M., Tyrrell, Andy M. (1997). Psychoacoustically Informed Spectography and Timbre
Höller, York (1988). La situation présente de la musique électronique
Kientzy, Daniel, Baudoux, Roald (2000). Interview Daniel Kientzy (1/2)
Koenig, Gottfried Michaël (1972). Studium im Studio (1959)
Laliberté, Martin (1993). Informatique musicale : utopies et réalités 1957-1990
Leng, Censong (1999). From Timbre Modulation Method to Research Relation Between Electronic Music and Chinese Musical Tradition
Mary, Mario (2006). L’orchestration électroacoustique. Une approche particulière à la composition électroacoustique. Ses liens avec la musique instrumentale et ses applications dans le domaine de l’analyse musicale
Mountain, Rosemary (2004a). Theories Market: Open for Trading
Nucibella, Francesca, Zattra, Laura (2005). Audio content tools for the musicological analysis of electroacoustic music
Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Palombini, Carlos (2002). Musique Concrète Revisited
Pottier, Laurent (1999). Contrôle interactif d’une voix chantée de synthèse
Prado, Cécile Le (1991). Deux espaces sonores urbains
Risset, Jean-Claude (1971). Synthesis of Sound by Computer and Problems concerning Timbre
Risset, Jean-Claude (1985b). Digital Techniques and Sound Structure in Music
Risset, Jean-Claude (1986a). Timbre et synthèse des sons
Risset, Jean-Claude (1991b). Timbre, Analysis by Synthesis: Representations, Imitations, and Variants for Musical Composition
Risset, Jean-Claude (1993). Synthèse et matériau musical
Risset, Jean-Claude (1996b). Real-World Sounds and Simulacra in my Computer Music
Risset, Jean-Claude (2003). Computer Music: Why?
ROEDERER, Juan G. (1979). Introduction to the Physics and Psychophysics of Music
Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss
Roy, Stéphane (2006). L’analyse formelle en quête de significations profondes
Saariaho, Kaija, Hoitenga, Camilla, Karttunen, Ansi, Barrière, Jean-Baptiste, Stoianova, Ivanka, Mathieu, Jean-Baptiste (1999). Prisma
Serra, Marie-Hélène (1993a). Stochastic Composition and Stochastic Timbre: {GENDY3} by Iannis Xenakis
Smalley, Denis (1986). Spectro-morphology and Structuring Processes
Smalley, Denis (1994). Defining Timbre - Refining Timbre
Stockhausen, Karlheinz (1962). The Concept of Unity in Electronic Music
Strawn, John (1982). Research on Timbre and Musical Contexts at CCRMA
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
TENNEY, James C. (1965). Die physikalischen Korrelate der Klangfarbe (The physical correlates of timbre)
THIES, Wolfgang (1982). Grundlage einer Typologie der Klänge (The Foundation of a Sound Classification)
Tiffon, Vincent (1992). L’œuvre mixte de F.B. Mâche un modèle du genre
Tiffon, Vincent (2005). Les musiques mixtes : entre pérennité et obsolescence
Truax, Barry (1980b). Timbral Construction as a Stochastic Process
Truax, Barry (1992c). Composing with Time-Shifted Environmental Sound
Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Ungeheuer, Elena (1994). From the Elements to the Continuum: Timbre Composition in Early Electronic Music

 

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