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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Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
SCHATT, Peter W. (2005). L’arte della transizione : funzioni dell’elettronica in {Mixtur} di Karlheinz Stockhausen (The art of transition: electronic functions in {Mixtur} by Karlheinz Stockhausen)
Scriabine, Marina (1952). Pierre Boulez et la musique concrète
Serra, Marie-Hélène (1993b). La synthèse dynamique stochastique de Iannis Xenakis
Simona, Sargenti (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)
Simoni, Mary (2003). Project Lovelace: Unprecedented Opportunities for Music Education
Simoni, Mary H., Broening, Benjamin, Rozell, Christopher, Meek, Colin, Wakefield, Gregory H. (1999). A Theoretical Framework for Electro-Acoustic Music
Sivuoja-Gunaratnam, Anne (2003). Desire and Distance in Kaija Saariaho’s {Lonh}
SMALLEY, Denis (1992a). Can electroacoustic music be analysed? (La musica elettroacustica può essere analizzata?)
Smalley, Denis (1993). Defining Transformations
Smalley, Denis (1995b). La spectromorphology: une explication des formes du son
Smalley, Denis (1999). Établissement de cadres relationnels pour l’analyse de la musique postschaefferienne
Solomos, Makis (1999b). Notes sur François-Bernard Mâche et {L’estuaire du temps}
Solomos, Makis (2001). The Unity of Xenakis’s Instrumental and Electroacoustic Music: the Case for “Brownian Movements”
Squibbs, Ronald (1996). Images of Sound in Xenakis’s {Mycenae-Alpha}
Stevance, Sophie M. (2005). De l’univers acoustique aux sphères électroniques : l’itinéraire du timbre dans le {Clair-Obscur} parasité de Roger Tessier
Stiegler, Bernard (2003). Bouillonnements organologiques et enseignement musical
Stockhausen, Karlheinz (1962). The Concept of Unity in Electronic Music
Stockhausen, Karlheinz (1988). Musique électronique et musique instrumentale
Stroppa, Marco (1984). The analysis of electronic music
Stroppa, Marco (1999). Live Electronics or... Live Music? Towards a Critique of Interaction
Tanzi, Dante (2004). Information Technology and Communication of Musical Experience: Categories, conflicts and intersections
Teruggi, Daniel (1991). Un espace de réflexion
Teruggi, Daniel (2001b). Après une écoute de {Sud}
Teruggi, Daniel, Couprie, Pierre (2001). Les {Presque rien} de Luc Ferrari. {Hétérozygote} et les {Presque rien}
Thomas, Jean-Christophe (2001). Sur l’expression de la nature dans les musiques électroacoustiques
Thomas, Jean-Christophe (2002). Aspects d’Orphée
Thomas, Jean-Christophe (2003b). Entrons dans {Camera oscura} et son Labyrinthe avec l’auteur
Tiffon, Vincent (1992). L’œuvre mixte de F.B. Mâche un modèle du genre
Tiffon, Vincent (2002). Jean-Claude Risset : {Sud} (1985)
Tiffon, Vincent (2004). La musique mixte: avenir de la musique électroacoustic?
Tiffon, Vincent (2006). La représentation sonagraphique est-elle une aide pour l’analyse perceptive de la musique électroacoustique ?
Toeplitz, Kasper T. (2002). L’ordinateur comme instrument de concert - aussi une question d’écriture ?
Toop, Richard (1981). Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952-1967
Trân, Quang Hai (2001). Un dialogue occident-orient : l’exemple de {Vê Nguôn} (1975)
Truax, Barry (1976). A Communicational Approach to Computer Sound Programs
Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Ungeheuer, Elena, Decroupet, Pascal (1998). Through the Sensory Looking-glass: the Aesthetic and Serial Foundations of {Gesang des Jünglinge}
UNGEHEUER, G. (1960). Ähnlichkeitsklassen bei Schallsignalen (Similarity Classes of Sound Signals)
Vaggione, Horacio (1982). Le courant et le maintenu
Vaggione, Horacio (1998a). L’espace composable. Sur quelques catégories opératoires dans la musique électroacoustique
Vande Gorne, Annette (2002). L’interprétation spatiale. Essai de formalisation méthodologique
Vandenheede, Jan (1992). Jonathan Harvey’s {Ritual Melodies}
Victor, Michèle (1975). L’informatique musicale
Vidolin, Alvise (1980). Interazione fra i livelli di rappresentazione dell’informazione musicale nella composizione mediante elaboratore (Interaction among the representation levels of musical data in computer music composition)
Vidolin, Alvise (ed.) (1980). Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)
VIDOLIN, Alvise, DOATI, Roberto (1983). Bollettino 3 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) (Review of the Permanent Laboratory for Computer Music of the Biennale)
VIDOLIN, Alvise, POLO, Nicoletta (1981). Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) (Review of the Permanent Laboratory for Computer Music of the Biennale (LIMB))
VIDOLIN, Alvise, POLO, Nicoletta, TORRESAN, Daniele (1982). Bollettino 2 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) (Review of the Permanent Laboratory for Computer Music of the Biennale (LIMB))
Voorvelt, Martijn (1997). The Environmental Element in Barry Truax’s Composition
Waters, Simon (1994). Timbre Composition: Ideology, Metaphor and Social Process
Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis
XENAKIS, Iannis (1958). Auf der Suche nach einer Stochastischen Musik (In search of a stochastic Music)
XENAKIS, Iannis (1960/1961). Grundlagen einer stochastischen Musik (Elements of Stochastic Music)
XENAKIS, Iannis (1966). Zu einer Philosophie der Musik (Towards a philosophy of music)
Young, John (1996). Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music
Young, John (2004). Sound Morphology and the Articulation of Structure in Electroacoustic Music
Young, La Monte, Zazeela, Marian (1971). La Monte Young
Young, La Monte, Zazeela, Marian (1971). {Dream House}
Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music

 

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