Structure, Musical [Str]  >  Formalism  ]

This term is used in relation to musical composition and analysis as an analogy to grammatical functions and rules in language, and operational rules in the computing sense of the term. The term is invariably allied with attempts to formalise musical knowledge and perceptual response. In composition, grammar may be broadly associated with procedures that make definitions of micro-structural ’units’ and proceed to establish operational procedures for their organisation into macro-structures. It is therefore associated with, e.g., stochastic, fractal and generative approaches to composition.

Formalist approaches to musical analysis may attempt, through defining grammar-based rules, to model perceptual responses to music.

Many concerned with formalist grammars are interested in approaches (usually through computing) to model the process of composition itself.


See also:

Cellular Automata, Constraint-based Composition, Formalism, Generative Music, Stochastic Music



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Alphabetical order - Chronological order

Appleton, Jon (1996). Musical Storytelling
Barrière, Jean-Baptiste (1989). Computer Music as Cognitive Approach: Simulation, Timbre and Formal Processes
Boehmer, Konrad (2002). Koenig - Sound Composition - {Essay}
Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte
Bridger, Michael (2002). Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listeners’ Response
Burns, K. H. (2004). Algorithmic Composition
Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of {Gesang der Jünglinge}
Delalande, François (1989). Éléments d’analyse de la stratégie de composition
DeLio, Thomas (2002). {Diamorphoses} by Iannis Xenakis
Desainte-Catherine, Myriam, Nicouleau, Edgar (2000). Segmentation et formalisation d’une œuvre électroacoustique
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
Ferrari, Giordano (2005). {Perspectivae sintagma I} : une analyse
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Järveläinen, Hanna (2001). Algorithmic Musical Composition
Kohl, Jerome (2002). Serial Composition, Serial Form, and Process in Karlheinz Stockhausen’s {Telemusik}
Kröpfl, Francisco (1998). Organizing Sound in Electroacoustic Music, questions and Hints: a Proposal of Exploration for the Young
Laske, Otto (2002). Subscore Manipulation as a Tool for Compositional and Sonic Design
Licata, Thomas (2002a). Luigi Nono’s {Omaggio a Emilio Vedova}
Lorieux, Grégoire (2004). Une analyse d’{Amers} de Kaija Saariaho
Normandeau, Robert (1993). ... et vers un cinéma pour l’oreille
Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures
Roads, Curtis (1979). Grammars as Representations for Music
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}
Sani, Nicola (1996). Reflexions on the Analysis of Electroacoustic Music
Ungeheuer, Elena, Decroupet, Pascal (1998). Through the Sensory Looking-glass: the Aesthetic and Serial Foundations of {Gesang des Jünglinge}
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)


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