Musicology of Electroacoustic Music [MEM]  ]

The analysis of electroacoustic music and aspects within electroacoustic works pose several challenges, not the least of which is that this music represents the greatest leap in music history. New material, treatment of material, and structures are found and created on a daily basis. In consequence, the experience offered to the listener has been equally revolutionised. Clearly, traditional approaches to analysis can be applied to a certain extent (descriptive, structural), but in most cases these approaches have had to be supplemented by sound-based tools as the traditional parameters of instrument, pitch, rhythm and so on are not always appropriate. Elements such as timbre and texture as well as use of space can be at least as important. With this in mind, new strategies for postscriptive scoring from formal spectral to informal reception-based notations have been developed, and continue to do so. Various approaches with borrowings from psychoacoustics, acoustics, reception theory and other fields have equally been introduced. Ironically, few large-scale systems have been devised to assist in analysing electroacoustic work. Schaeffer’s early writings supplemented by Smalley’s contributions in spectromorphology represent important exceptions.


See also:

Auditory Scene Analysis, Aural Analysis, Classification of Sound, Schaefferian Theory, Spectral Analysis, Spectromorphology



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Adamo, Muriel (2005). {Danse de mort}
Adkins, Matthew (1999). Acoustic Chains in Acousmatic Music
Alain, Olivier, Bayle, François, Cadieu, Martine, Fleuret, Maurice, Lonchampt, Jacques (1969). Pierre Henry
Alcázar Aranda, Antonio (2006). Analyse de la musique électroacoustique, genre acousmatique, à partir de son écoute : bases théoriques, méthodologie et but de la recherche, conclusions
AMES, Charles (1983). Automatismi stilistici di {Gradient} (Stylistic automatism of {Gradient})
Anderson, Elizabeth (2006). {Ce qu’a vu le vent d’Est} (d’après Debussy) by Annette Vande Gorne: Compositional Strategies. A Bridge with the Past in the Acousmatic Field
Appleton, Jon (1996). Musical Storytelling
Austin, Larry (1991). Live-electronic Music on the Third Coast
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
Barrachina, Solange (2003). {Camera oscura}, regard sur l’œuvre et sa chorégraphie
Barrière, Françoise (1996). Thoughts on Analysis in Electroacoustic Music
Barrière, Jean-Baptiste (1984). “Chréode”: the Pathway to New Music with the Computer
Barrière, Jean-Baptiste (1986). Mutations du matériau, mutations de l’écriture
Battier, Marc (2003a). A Constructivist Approach to the Analysis of Electronic Music and Audio Art - Between Instruments and {Faktura}
Battier, Marc (2003b). Notes sur l’électronique dans un opéra récent : {K...} de Philippe Manoury
Battier, Marc, Landy, Leigh (2004). Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools
Battier, Marc, Nouno, Gilbert (2003). L’électronique dans l’opéra de Kaija Saariaho, {L’amour de loin}
Bayle, François (1993). Musique acousmatique. Proposition... ...positions
Bayle, François (2003). Petit guide de mes images
Bayle, François, Chion, Michel, Vande Gorne, Annette (1994). Le caprice et la cohérence
Bayle, François, Gayou, Evelyne (2003b). Mes images
Bennett, Gerald (1995). Thoughts on the Oral Culture of Electroacoustic Music
Berenguer, José Manuel (1997). Analytical Reveries I
Besson, Dominique (1991). La transcription des musiques électroacoustiques : que noter, comment et pourquoi ?
Bodin, Lars Gunnar (1996). Aesthetic Profil Mapping - An Outline of a Practical Aesthetic Analysis
Boesch, Rainer (1996). Analysis in Electroacoustic Music (Music is not invented, it is composed)
Bossis, Bruno (2002a). La vocalité artificielle : un portrait en musique
Bossis, Bruno (2002b). Karlheinz Stockhausen
Bossis, Bruno (2004a). {Mortuos Plango, Vivos Voco} de Jonathan Harvey ou le miroir de la spiritualité
Bossis, Bruno (2005a). {Stria} de John Chowning ou l’oxymoron musical: du nombre d’or comme poétique
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Bossis, Bruno (2006). The Analysis of Electroacoustic Music: from sources to invariants
Boucourechliev, André (1960). La musique électronique
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo
Byrne, Madelyn (1999). Speech-Based Computer Music: Selected Works by Charles Dodge and Paul Lansky
Camilleri, Lelio (1999). Le bruit organisé
Camilleri, Lelio, Smalley, Denis (1998). The Analysis of Electroacoustic Music: Introduction
Castanet, Pierre-Albert (2001a). Voyages en Nouvelles Atlantide
Castanet, Pierre-Albert (2001b). Luc Ferrari: Mnemosyne mise à nu
Chion, Michel (1991). Une dramaturgie de la retransmission
Chion, Michel (1998b). Du son à la chose : hypothèses sur l’objet sonore
Chion, Michel (2005). Pour une musique concrète “médiatiste”
Chion, Michel, Gayou, Evelyne (2005). Construire le temps alors même qu’il se fissure
Chion, Michel, Gayou, Evelyne, Dufour, Denis (2005). {Requiem}
Chowning, John (2005). Composer le son lui-même
Chowning, John, Roads, Curtis (1985). John Chowning on composition
Cisinski, Michaël (2001). Le compositeur, l’outil et la trace historique
Clarke, Michael (1998). Extending Contacts: the Concept of Unity in Computer Music
CLEMENTI, Aldo (1983). {Fantasia su roBErto FABbriCiAni}
Clozier, Christian (1975). Le groupe de musique expérimentale de Bourges
Clozier, Christian (1996b). Analysis in Electroacoustic Music
Clozier, Christian, Leipp, Emile (1975a). Le groupe de musique expérimental de Bourges
Couprie, Pierre (2001a). Donner un élan pour l’écoute de Sud
Couprie, Pierre (2001b). Transcription globale : introduction à la représentation
Couprie, Pierre (2001c). Un modèle pour l’analyse des musiques électroacoustiques
Couprie, Pierre (2002a). Analyse comparée des {Trois rêves d’oiseau} de François Bayle
Couprie, Pierre (2003). Une typologie des séquences libres dans {Lumina}
Couprie, Pierre (2004a). La place de l’informatique et du multimédia dans l’analyse des musiques électroacoustiques




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