Simply stated, musicology is the study of music. Electroacoustic musicology is, therefore, the study of electroacoustic music. It can be subdivided into three overlapping areas: historical, systematic and ethno-electroacoustic music studies.
The historical area is one that looks at the music diachronically and synchronically, taking various aspects of systematic musicology and technology into account where pertinent. Its key corpus of research is the music itself from the most esoteric to its more popular forms.
Ethno-electroacoustic music studies is involved with the impact of this music on our listening, our aural culture as well as on our relationship with all sounds that surround us.
Finally, the systematic area consists of an assortment of sub-areas, many focusing on theoretical issues, but not exclusively. The following list covers a large number of relevant subjects:
new theories concerning sonic art
categorisation of sounds (micro- and macro-levels)
families of approaches/works
sound (re)synthesis
sound manipulation
spectral analysis
spectromorphology
new instruments
interactivity/performance interfaces
new protocols for digital control of sound
new approaches to performance (contexts)
multimedia
sound and space/acoustics
new notations/representations
new approaches to analysis
ordering of sounds (micro-level)
ordering of larger electroacoustic musical entities (macro-level)
artificial intelligence
modes of listening/perception
psychoacoustics/cognition/semiotics
archiving information
aesthetics/philosophy/criticism
(Source: Leigh Landy (1999). Reviewing the Musicology of Electroacoustic Music. Organised Sound Vol. 4, No. 1. Cambridge: Cambridge University Press: 61-70.)
Bibliography:
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Alphabetical order - Chronological order
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Justel, Elsa (2000). Les structures formelles dans la musique de production électroniqueLandy, Leigh (2007b). La musique des sons
Risset, Jean-Claude (1999c). Évolution des outils de création sonore
- Aesthetics
- Analysis
- Archiving
- Classification of Sound
- Discourse within Electroacoustic Music
- History of Electroacoustic Music
- Listening Experience
- Acousmatic
- Architectonic
- Aural Landscape
- Aural Perspective
- Causal Listening
- Causality
- Clairaudience
- Composed Space
- Ear Cleaning
- Earwitness
- Gesture
- Intention and Reception
- Interiority
- Listening Strategy
- Modes of Listening
- Momentform
- Morphology
- Quatre Écoutes
- Reduced Listening
- Referential Listening
- Schizophonia
- Semantic Listening
- Sound Flow
- Sound Image
- Soundscape Studies
- Source Recognition
- Spectral Space
- Statistical Listening
- Technological Listening
- Texture
- Timbre
- Transzeitlichkeit
- Utterance
- Philosophy Of Music
- Schaefferian Theory
- Abstrait et Concret (Abstract and Concrete)
- Acoulogie
- Acousmatic
- Anamorphose (Anamorphosis)
- Caractèrologie (Characterology)
- Écoutes Banales et Practiciennes (Ordinary and Practical Listening)
- Écoutes Naturelles et Culturelles (Natural and Cultural Listening)
- Époché
- Morphologie (Morphology)
- Musique Concrète
- PROGREMU
- Quatre Écoutes
- Reduced Listening
- Solfège
- Sound Object
- Synthèse (Synthesis)
- Typo-morphologie (Typo-morphology)
- Typologie (Typology)
- Socio-Cultural Aspects of Electroacoustic Music
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