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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Mion, Philippe (2001). {La grotte}, extrait de {Hétérozygote}
Mion, Philippe (2002). {L’Œil écoute}
Mion, Philippe, Nattiez, Jean-Jacques, Thomas, Jean-Christophe (1982). L’envers d’une œuvre. {De Natura Sonorum} de Bernard Parmegiani
Mittendorf, Hans (1996). Music Topology
MOLES, Abraham A. (1962). Das neue Verhältnis zwischen Musik und Mathematik (The new relationship between music and mathematics)
Moyal, Marie-Noëlle (2005). Les tentations de Michel Chion
Murail, Tristan (1984). Spectra and pixies
Murail, Tristan (2005a). Spectra and Sprites
Newcomb, Robert Spalding (1998). Music in the Air: A theoretical model and software system for music analysis and composition
Norris, Michael (1999). Reinstating Interpretation: The status of Analysis in an Electroacoustic Context
Nucibella, Francesca, Zattra, Laura (2005). Audio content tools for the musicological analysis of electroacoustic music
Parmegiani, Bernard, Gayou, Evelyne (2002). Mots de l’immédiat
Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures
Pottier, Laurent (1997). Exemple d’utilisation des outils de CAO pour la synthèse sonore. {En trance} de Fausto Romitelli pour soproano, ensemble et dispositif électronique
Pottier, Laurent (2003). {Straps} : pièce d’Eryck Abecassis pour ensemble et électronique en concert
Pottier, Laurent (2005). {Turenas}, analyse
Poullin, Jacques (1999). L’apport des techniques d’enregistrement dans la fabrication de matières et de formes musicales nouvelles. Application à la musique concrète
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Prod’homme, Lucie (1997). De l’application pédagogique des Unités Sémiotiques Temporelles
Racot, Gilles (2002a). Un pont entre des mondes
Racot, Gilles (2002b). Du traitement sonore à l’écriture
Racot, Gilles (2002c). Subjestuel suivi de partition
Racot, Gilles (2002d). Anatomies d’écoutes
Ramaut-Chevassus, Béatrice (1999). Le timbre dans {Antara} de George Benjamin
Reibel, Guy (2002). A propos de {De Natura Sonorum}
Reich, Steve (1995). My Life with Technology
Reich, Steve, Esselier, Françoise (1971). Steve Reich
Renouard Larivière, Régis (2002). Bernard Parmegiani, matière et continuité
Riikonen, Taina (2003). Shaken or Stirred - Virtual reverberation spaces and transformation gender identities in Kaija Saariaho’s {NoaNoa} (1992) for flute and electronics
Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field’ spaces
RISSET, Jean-Claude (1982). Tecniche digitali del suono: influenza attuale e prospettive future in campo musicale (Digital sound techniques: current influences and future perspectives in music)
Risset, Jean-Claude (1986a). Timbre et synthèse des sons
Risset, Jean-Claude (1991b). Timbre, Analysis by Synthesis: Representations, Imitations, and Variants for Musical Composition
Risset, Jean-Claude (1996b). Real-World Sounds and Simulacra in my Computer Music
Risset, Jean-Claude (2001b). Problèmes posés par l’analyse d’œuvres musicales dont la réalisation fait appel à l’informatique
Risset, Jean-Claude (2005a). Sur l’impact de l’œuvre scientifique, technique et musicale de John Chowning
Risset, Jean-Claude, Baudoux, Roald (2003). Interview Jean-Claude Risset
Risset, Jean-Claude, Sousa Dias, Antonio de, Lorrain, Denis, Pottier, Laurent (2002). De {Inharmonique} à {Resonant Sound Space} : temps réal et mise en espace
Roads, Curtis (1996b). Materials and Montage in {Clang-tint}
Robert, Martial (2005). Ivo Malec et son studio instrumental
Roche, Colin (2003). Du sens politique dans l’utilisation des sons électroniques: {Machinations} de Georges Aperghis, {Tombeaux} de Pierre-Albert Castanet et {Le Grand Jeu} de Bruno Mantovani
Rousselier, Samuel (2002). Sonorités élastiques
Rousselier, Samuel (2005). {Playtime et Pensée du matin}, extraits de {La Ronde}
Rowe, Robert (1995). Incrementally Improving Interactive Music Systems
Roy, Stéphane (1993). Analyse des œuvres acousmatiques: quelques fondements et proposition d’une méthode
Roy, Stéphane (1998). Functional and Implicative Analysis of {Ombres Blanches}
Roy, Stéphane (2003b). L’utopie, contrée fertile de l’aventure électroacoustique
Roy, Stéphane (2006). L’analyse formelle en quête de significations profondes
Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?
Ruget-Langlois, Nathalie (2003). Luigi Nono : la résonance sémantique à travers l’électronique
Rusch, Simon, Behnke, Julia (2003). {Tremblement de terre très doux}
Saariaho, Kaija, Hoitenga, Camilla, Karttunen, Ansi, Barrière, Jean-Baptiste, Stoianova, Ivanka, Mathieu, Jean-Baptiste (1999). Prisma
Salluce, Antonio (2005). {Phoné}
Sani, Nicola (1996). Reflexions on the Analysis of Electroacoustic Music
Sanson, Yoann (2005). {Le trésor}
Sargenti, Simona (1995). Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di {Mikrophonie I} e di {Solo} di K.Stockhausen (Software for the definition of electronic music instruments: analysis and realization of {Mikrophonie I} and {Solo} by K.Stockhausen)
Savouret, Alain (1972). Sur “Tango”
Savouret, Alain (1996). Analysis in Electroacoustic Music
Scaldaferri, Nicola (1997). Musica nel laboratorio elettroacustico. Lo Studio di Fonologia di Milano e la ricerca musicale negli anni Cinquanta (Music in the electroacoustic laboratory. The Studio di Fonologia in Milan and musical research in the 1950s)
Schœller, Philippe (1986). Mutation de l’écriture : {Éclat, Stria, Désintégrations}

 

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