Structural Analysis

Musicology of Electroacoustic Music [MEM]  >  Analysis  ]

A high-level form of analysis that goes beyond the general description of the characteristics of a piece of music. Structural analysis identifies both detail at micro-level as well as larger-scale activities. In this way the development of smaller elements into larger units and their evolution throughout a piece can be identified.

 

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Baranski, Sandrine (2006). Analyse perceptive en vue de l’étude du rapport texte/musique dans {Gesang des Jünglinge} (Le chant des adolescents) de Karlheinz Stockhausen
Bargheon, Ludovic (1999). {DO-MI-SI-LA-DO-RÉ} Œuvre mixte de Costin Miereanu
Barrière, Jean-Baptiste (1989). Computer Music as Cognitive Approach: Simulation, Timbre and Formal Processes
Bayle, François (1989a). Image-of-sound, or i-sound: Metaphor/metaphorm
Beaudoin, Richard (2007). Counterpoint and quotation in Ussachevsky’s {Wireless Fantasy}
Boehmer, Konrad (2002). Koenig - Sound Composition - {Essay}
Bossis, Bruno (2005a). {Stria} de John Chowning ou l’oxymoron musical: du nombre d’or comme poétique
Bossis, Bruno (2005b). {Phoné}
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Clozier, Christian, Leipp, Emile (1975a). Le groupe de musique expérimental de Bourges
Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s {Six Fantasies}
Couprie, Pierre (2001b). Transcription globale : introduction à la représentation
Couprie, Pierre (2001c). Un modèle pour l’analyse des musiques électroacoustiques
CREMASCHI, Andrea (2005). Parola-suono-silenzio: {Guai ai gelidi mostri} di Luigi Nono (Word-sound-silence: {Guai ai gelidi mostri} by Luigi Nono)
Dashow, James (2002). Looking into Sequence Symbols
Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}
Delalande, François (1972). L’analyse des musiques électro-acoustiques
Delalande, François (1996). Musique électroacoustique, coupure et continuité
Delalande, François, Formosa, Marcel, Frémiot, Marcel, Gobin, Pascal, Malbosc, Pierre, Mandelbrojt, Jacques, Pedler, Emmanuel (1996). Les unités sémiotiques temporelles
DeLio, Thomas (2002). {Diamorphoses} by Iannis Xenakis
Desainte-Catherine, Myriam, Nicouleau, Edgar (2000). Segmentation et formalisation d’une œuvre électroacoustique
Di Scipio, Agostino (1995a). Inseparable Models of Materials and of Musical Design in Electroacoustic Music
Di Scipio, Agostino (1995c). On Different Approaches to Computer Music as Different Models of Compositional Design
Di Scipio, Agostino (1998). Compositional Models in Xenakis’s Electroacoustic Music
Di Scipio, Agostino (2000). An Analysis of Jean-Claude Risset’s {Contours}
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s {Contours}
Di Scipio, Agostino (2004). The Orchestra as a Resource for Electroacoustic Music: On some works by Iannis Xenakis and Paul Dolden
Ding, Shiau-Uen (2006). Developing a rhythmic performance practice in music for piano and tape
Dirks, Patricia Lynn (2006). An Analysis of Jonathan Harvey’s “Mortuos Plango, Vivos Voco”
Dubedout, Bertrand (1990). Pierre Henry {Mouvement - Rythme - Etude}
Dupont, Maÿlis (2001). Pour une écoute critique : l’émergence de la musique
Fischman, Rajmil (1999). Score of {Point-virgule} (Electro-clip by Jean-François Denis)
Giomi, Francesco, Ligabue, Marco (1998). Evangelisti’s Composition Incontri di Fasce Sonore at WDR: Aesthesic-Cognitive Analysis in Theory and Practice
Gontcharoff, Paul (2001). Présentation générale et éléments d’analyse
Grintsch, Jan Simon (2006). La fonction perceptive de l’espace composé dans l’œuvre de François Bayle
Hanson, Sten (1996). Autoanalysis?
Harchanko, Joseph (2003). Spectro-morphology and Structure. An Analysis of Gilles Gobeil’s {Le Vertige Inconnu}
Harley, James (2002). The Electroacoustic Music of Iannis Xenakis
Heikinheimo, Seppo (1972). The Electronic Music of Karlheinz Stockhausen. Studies on the Esthetical and Formal Problems of its First Phase
Helmuth, Mara (1996). Multidimensional Representation of Electroacoustic Music
Hoffmann, Peter (2004). Something Rich and Strange: Exploring the Pitch Structure of {GENDY3}
Holm-Hudson, Kevin (1996). John Oswald’s {Rubaiyat (Elektrax)} and the Politics of Recombinant Do-Re-Mi
Hufschmitt, Aline (2001). Continuité ou discontinuité ? Un exemple de perception changeante de la fin de {Sud}
Keller, Damián, Ferneyhough, Brian (2004). Analysis by Modeling: Xenakis’s {ST/10-1 080262}
Kendall, Gary S. (2006). Juxtaposition and Non-motion: Varèse bridges early modernism to electroacoustic music
Kohl, Jerome (2002). Serial Composition, Serial Form, and Process in Karlheinz Stockhausen’s {Telemusik}
Kröpfl, Francisco (1995). Experiences and Reflexions on Electroacoustic Music
Kröpfl, Francisco (1998). Organizing Sound in Electroacoustic Music, questions and Hints: a Proposal of Exploration for the Young
Lai, Antonio (1999). La fonction compositionnelle des modulateurs en anneau dans {Mantra} (Karlheinz Stockhausen)
Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s {Till}
Lejeune, Jacques (1999). Parcours, imagerie et classifications
Lewis, Andrew (1989). Amplitude and Frequency Slope Profiles in Denis Smalley’s {Pentes}
Licata, Thomas (2002a). Luigi Nono’s {Omaggio a Emilio Vedova}
Licata, Thomas (Ed.) (2002b). Electroacoustic Music: Analytical Perspectives
Little, David (1993). Composing with Chaos; Applications of a New Science for Music
Lorieux, Grégoire (2004). Une analyse d’{Amers} de Kaija Saariaho
MacDonald, Alistair (1995). Performance Practice in the Presentation of Electroacoustic Music
Mâche, François-Bernard (1986). Le “concert collectif” chronique d’une expérience

 

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