Graphic Score

Musicology of Electroacoustic Music [MEM]  >  Analysis  >  Structural Analysis  >  Visual Representation  ]

Generally, composers of electroacoustic music do not make visual scores of their works. Notable exceptions to this might include:

- a score of procedures to enable others to recreate a piece
- a representation of electroacoustic material to aid an instrumentalist or vocalist in a Mixed Work
- a representation of how sound materials on a fixed medium should be routed to apparent spatial sources in a complex performance or installation situation

Since the signifying and structuring features of electroacoustic music do not conform to agreed upon saliences, as is the case with most notated instrumental and vocal compositions, the strategies for visually representing music may vary enormously between different graphic scores.


See also:

Diffusion Score



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Aharonian, Coriun, Appleton, Jon, Beyls, Peter, Boeswillwald, Pierre, Buxton, Bill, Chiarucci, Henri, Clozier, Christian, Ferreyra, Beatriz, Goethals, Lucien, Hanson, Sten, Kotonski, Wlodzimierz , Küpper, Leo, Pignon, Paul, Menard, Philippe, Nilson, Leo, Rudnik, Eugeniusz, Savouret, Alain (1975). La musique électroacoustique en 5 thèmes
Bayle, François (1990a). Pierre Schaeffer L’œuvre musicale
Bello, Angelo (2001). Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Ciamaga, Gustav (1975). The Tape Studio
Couprie, Pierre (2001b). Transcription globale : introduction à la représentation
Couprie, Pierre (2004a). La place de l’informatique et du multimédia dans l’analyse des musiques électroacoustiques
Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen’s {Kontakte} für elektronische Klänge, Klavier, und Schlagzeug
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)
Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form
Delalande, François (1998). Music Analysis and Reception Behaviours: {Sommeil} by Pierre Henry
Delalande, François (2002a). {Aquatisme}
Després, Alain (1988). L’UPIC en temps réel
Ebbeke, Klaus (1990). La vue et l’ouïe - Problèmatique des partitions dans la musique électro-acoustique (en particulier chez Karlheinz Stockhausen)
Fennely, Brian (1967). A Descriptive Language for the Analysis of Electronic Music
Giannakis, Kostas (2006). A comparative evaluation of auditory-visual mappings for sound visualisation
Giomi, Francesco, Ligabue, Marco (1998). Evangelisti’s Composition Incontri di Fasce Sonore at WDR: Aesthesic-Cognitive Analysis in Theory and Practice
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
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Joly, Brice (2003). L’UPIC de Xenakis
Kröpfl, Francisco (1996). An Approach to the Analysis of Electroacoustic Music
Küpper, Leo (1996). Musical Analysis: {Inflections Vocales}, a Composition for Soprano and DAT
Küpper, Leo (2000). Le temps audio-numérique
Lanza Alcides, (1998). Music for Voice [Personal Recollection]
Levaux, Benjamin (2002). {Trois études}
Lewis, Andrew (1987). Motion and the Analysis of Electro-Acoustic Music: Denis Smalley’s {Vortex}
Lewis, Andrew (1989). Amplitude and Frequency Slope Profiles in Denis Smalley’s {Pentes}
Lewis, Andrew (1998). Francis Dhomont’s {Novars}
LINTZ MAUÉS, Igor (1989). Música Eletroacústica no Brasil. Composição utilizando o meio eletrônico (1956 - 1981) (Electroacoustic Music in Brazil: Composition using the electronic media (1956 - 1981))
LOCATELLI DE PÉRGAMO, Ana María (1973). La notación de la música contemporánea (The notation of contemporary music)
Lohner, Henning (1986a). The UPIC System: A User’s Report
Lohner, Henning (1986b). Interview with Iannis Xenakis
Marino, Gérard, Serra, Marie-Hélène, Raczinski, Jean-Michel (1993). The UPIC System: Origins and Innovations
Miereanu, Costin (1974). Une musique électronique et sa “partition” {Artikulation}
Nelson, Peter (1997). The UPIC System as an Instrument of Learning
Raczinski, Jean-Michel (2001). L’UPIC, outil de composition pour quelles musiques ?
Rousselier, Samuel (2002). Sonorités élastiques
Roy, Stéphane (1993). Analyse des œuvres acousmatiques: quelques fondements et proposition d’une méthode
Roy, Stéphane (1998). Functional and Implicative Analysis of {Ombres Blanches}
Savouret, Alain (1972). Sur “Tango”
Squibbs, Ronald (1996). Images of Sound in Xenakis’s {Mycenae-Alpha}
Teruggi, Daniel (2001b). Après une écoute de {Sud}
Thies, Wolfgang (1987). Vorschläge für eine physikalisch-akustische Notation elektronischer Musik
Toop, Richard (1981). Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952-1967
Voorvelt, Martijn (1997). The Environmental Element in Barry Truax’s Composition
Welsh, John (1985). Music in the Air. A Radio Landscape - Here and There
Williams, Tom (1993). {Vox V} by Trevor Wishart: The Analysis of an Electroacoustic Tape Piece
Wyatt, Scott A. (1999). Investigative Studies on Sound Diffusion/Projection
Xenakis, Iannis (1981). Les chemins de la composition musicale
Xenakis, Iannis (1985). Music Composition Treks
Xenakis, Iannis (1996). Determinacy and Indeterminacy
Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music
Zbar, Michel (1992). Musiques électroacoustiques : de l’écoute du compositeur à celle de l’auditeur