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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Couprie, Pierre (2004c). Des outils pour l’analyse de la musique électroacoustique
Couprie, Pierre (2006). (Re) Presenting electroacoustic music
Cox, Cindy (2003). Wounds like Flowers Opening: a Discussion of {Hysteria} for Trombone and Four-Channel Tape
CREMASCHI, Andrea (2005). Parola-suono-silenzio: {Guai ai gelidi mostri} di Luigi Nono (Word-sound-silence: {Guai ai gelidi mostri} by Luigi Nono)
Cremaschi, Andrea , Giomi, Francesco (eds.) (2005a). Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works)
Cvejic, Bojana (2001). Near and Far. {A Nocturne of Belgrade Spring 1999} for Chamber Ensemble, Live Electronics and Audio Tape, by Srdjan Hofman
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)
Daoust, Yves (2000). Pensée concrète, démarche abstraite
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
De Benedictis, Angela Ida (2004a). Scrittura e supporti nel Novecento: alcune riflessioni e un esempio ({Ausstrahlung} di Bruno Maderna) (Writing and support in 20th century music: some remarks and an example ({Ausstrahlung} by Bruno Maderna))
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}
Delalande, François (1972). L’analyse des musiques électro-acoustiques
Delalande, François (1974). L’{Omaggio a Joyce} de Luciano Berio
Delalande, François (1985). Perception des sons et perception des œuvres
Delalande, François (1986a). En l’absence de partition : le cas singulier de l’analyse de la musique électro-acoustique
Delalande, François (1986b). Pertinence et analyse perceptive
Delalande, François (1989). Éléments d’analyse de la stratégie de composition
Delalande, François (1993). Analyser le style en musique électro-acoustique : approximation et pluralité en analyse comparative
Delalande, François (1996). Musique électroacoustique, coupure et continuité
Delalande, François (1998). Music Analysis and Reception Behaviours: {Sommeil} by Pierre Henry
Delalande, François (2002a). {Aquatisme}
Delalande, François, Formosa, Marcel, Frémiot, Marcel, Gobin, Pascal, Malbosc, Pierre, Mandelbrojt, Jacques, Pedler, Emmanuel (1996). Les unités sémiotiques temporelles
Delalande, François, Iger, Anne-Claude (2002). Entretiens avec François Delalande
Desainte-Catherine, Myriam, Nicouleau, Edgar (2000). Segmentation et formalisation d’une œuvre électroacoustique
Di Scipio, Agostino (1995b). Centrality of Techné for an Aesthetic Approach on Electroacoustic Music
Di Scipio, Agostino (1995c). On Different Approaches to Computer Music as Different Models of Compositional Design
Di Scipio, Agostino (1996). Interactive Composing with Granular Time-shifting of Sound
Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis’ Electroacoustic Music
Di Scipio, Agostino (1998). Compositional Models in Xenakis’s Electroacoustic Music
Di Scipio, Agostino (2000). An Analysis of Jean-Claude Risset’s {Contours}
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
DOATI, Roberto (1984). Symmetry, Regularity, Direction, Velocity
DOATI, Roberto (1994). Dimensione acustica - dimensione elettronica: interazioni linguistiche in un pezzo per suoni di flauto e suoni sintetici (The acoustic dimension – electronic dimension: linguistic interactions in a work for flute and synthetic sounds)
Donin, Nicolas (2004). Towards Organised Listening: Some aspects of the ‘Signed Listening’ project, Ircam
Dreyer, Sylvain (1999). Marseille à l’heure électronique
Dubedout, Bertrand (1990). Pierre Henry {Mouvement - Rythme - Etude}
Dufour, Denis (1990). De l’écriture
Dupont, Maÿlis (2001). Pour une écoute critique : l’émergence de la musique
Durante, Sergio, Zattra, Laura (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)
Dürr, Bernard (1975). Valeur et plus value (hypothèses pour l’analyse musicale)
Dürr, Bernard (1986). Journal des {Chants parallèles} de Luciano Berio
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Emmerson, Simon (1986). The Relation of Language to Materials
Emmerson, Simon (1996). {Sentences} for Soprano and Electronics: Towards a Poetics of Live Electronic Music
Emmerson, Simon (1998a). Acoustic/Electroacoustic: The Relationship with Instruments
Emmerson, Simon (2000c). Time Regained
Erbe, Marcus (2003). {Vibrations composées}
Eric, Zoran (1995). {Signs}, by Srdjan Hofman, a Directory for the Use of Live Electronics in the Process of Creating Real Musical Time
Ernst, David (1977). The Evolution of Electronic Music
Favaro, Roberto (ed.) (2002). Musica e tecnologia domani. Convegno internazionale sulla musica elettroacustica. Teatro alla Scala 20-21 novembre 1999 (Music and technology tomorrow. International conference on electroacoustic music. Teatro alla Scala, 1999, November 20-21)
Fennely, Brian (1967). A Descriptive Language for the Analysis of Electronic Music
Ferrari, Giordano (1994). Vers un scénario imaginaire : l’opéra radiophonique italien
Ferrari, Giordano (2005). {Perspectivae sintagma I} : une analyse
Ferrari, Luc, Zanési, Christian (1989). Acousmathèque Luc Ferrari, 60 ans, La femme
Fischer, Michel (1993). Acuité d’écoute “acousmatique” et itinéraire timbrique
Fischman, Rajmil (1999). Score of {Point-virgule} (Electro-clip by Jean-François Denis)
Frémiot, Marcel (2001). De l’objet sonore à “l’unité temporelle de sens”
Fujii, Koichi (2004). Chronology of Early Electroacoustic Music in Japan: What types of source materials are available?
Gayou, Évelyne (2006). Analysing and Transcribing Electroacoustic Music: the experience of the {Portraits polychromes} of GRM