Analysis

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

 

Bibliography:

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Georgaki, Anastasia, Loufopoulos, Apostolos (2000). Spirituality in Electroacoustic Works {Apokalypsis, Tetelestai} and {Kratima} of Greek composer Michael Adamis
Gérando, Stéphane de, Risset, Jean-Claude (2003). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Gérando, Stéphane de, Risset, Jean-Claude (2004). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Geslin, Yann (2005). John Chowning: de l’informatique à la composition musicale
Giomi, Francesco (2002). Scuole storiche italiane di musica elettronica (Historical electronic music schools in Italy)
Giomi, Francesco, Ligabue, Marco (1998). Evangelisti’s Composition Incontri di Fasce Sonore at WDR: Aesthesic-Cognitive Analysis in Theory and Practice
Gobin, Pascal, Delalande, François (1998). Les unités sémiotiques temporelles : un niveau d’analyse de l’organisation musicale du temps
Gontcharoff, Paul (2001). Présentation générale et éléments d’analyse
Griffiths, Paul (1984). Three works by Jonathan Harvey: the electronic mirror
Grintsch, Jan Simon (2006). La fonction perceptive de l’espace composé dans l’œuvre de François Bayle
Harchanko, Joseph (2003). Spectro-morphology and Structure. An Analysis of Gilles Gobeil’s {Le Vertige Inconnu}
Harvey, Jonathan, Lorrain, Denis, Barrière Jean-Baptiste, Haynes, Stanley, (1984). Notes on the realization of Bhakti
Haynes, Stanley (1984). Report on the realization of York Höller’s {Arcus}
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
HILLER, L. A. (1965). Musikalische Anwendungen von elektronischen Digitalrechnern(Musical Applications of Electronic Digital Computers)
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Hufschmitt, Aline (2001). Continuité ou discontinuité ? Un exemple de perception changeante de la fin de {Sud}
INA-GRM, (2000). La musique électroacoustique
Justel, Elsa (2000). The Formal structures in the music of electronic production
Kahn, Frédéric (2002). Une introduction à l’écoute de Subjestuel de Gilles Racot
Kaltenecker, Martin (2005). L’en-delà du concret, notes pour une physionomie musicale de Michel Chion
Keane, David (1989a). Some Practical Aesthetic Problems of Electronic Music Composition
Koblyakov, Lev (1984). Jean-Claude Risset - {Songes} (1979) (9’)
Koenig, Gottfried Michael (1967). Notes on the Computer in Music
Koenig, Gottfried Michaël (1972). Studium im Studio (1959)
Koenig, Gottfried Michael (1978). My Experiences with Programmed Music
KOENIG, Gottfried Michael (1983). Integrazione estetica di partiture composte mediante elaboratore - {Segmente} 99-105 (Aesthetic integration of scores realised with a computer - {Segmente} 99-105
Kröpfl, Francisco (1996). An Approach to the Analysis of 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)
Lalitte, Philippe (1998). {City Life}
Lalitte, Philippe (2006). Towards a semiotic model of mixed music analysis
Landy, Leigh (2006a). The Intention/Reception Project
Lanza Alcides, (1998). Music for Voice [Personal Recollection]
Laske, Otto (2002). Subscore Manipulation as a Tool for Compositional and Sonic Design
Lejeune, Jacques (1999). Parcours, imagerie et classifications
Levaux, Benjamin (2002). {Trois études}
Lewis, Andrew (1998). Francis Dhomont’s {Novars}
Lorieux, Grégoire (2004). Une analyse d’{Amers} de Kaija Saariaho
Lotis, Theodoros (2003). The Creation and Projection of Ambiophonic and Geometrical Sonic Spaces with Reference to Denis Smalley’s {Base Metals}
Mâche, François-Bernard (1972). Sur “Korwar”
MACHOVER, Tod (1983). {Fusione fugace}. Testo esplicativo ({Fusione fugace}. Explanatory text)
Machover, Tod (1984). Computer Music with and without Instruments
Machover, Tod (1985). Thoughts on Computer Music Composition
Malec, Ivo, Giner, Bruno (1996). Entretien avec Ivo Malec
Malt, Mikhail (1996). {Lambda 3.99} (chaos, et composition musicale)
Mandolini, Ricardo (2006). Musique informelle, musique électroacoustique : une convergence insoupçonnée ?
Marchetti, Lionel (2005). Catalogue des œuvres musicales
Marinelli, Elisabetta (ed.) (1995). Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia (The Elettra Complex. Mapping research centres and musical production in Italy)
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
McCartney, Andra (2000b). Hildegard Westerkamp’s {Moments of Laughter}: Recording Childhood, Performing Motherhood, Refusing to Shup Up, and Laughing
McCartney, Andra (2003). In and Out of the Sound Studio
Merlier, Bertrand (2002c). Qu’est-ce que l’informatique musicale ?
Meston, Olivier (2003). Jean-Claude Risset et les nouvelles technologies musicales: l’ordinateur, maître-mot
Miereanu, Costin (1974). Une musique électronique et sa “partition” {Artikulation}
Mikic, Vesna (1996). {The Duel} as the Answer
Mikic, Vesna (2002). {Vris.Krik.exe}: A Techno - Music Metaphor of Subject/Body
Minjard, Jean-François (1994). La transparence, matériau et écriture, dans l’œuvre de François Bayle

 

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