Book contents
- Expanding the Horizon of Electroacoustic Music Analysis
- Expanding the Horizon of Electroacoustic Music Analysis
- Copyright page
- Contents
- Figures
- Contributors
- Part I Setting the scene
- Part II Ideas and challenges
- Part III Harnessing new forces
- 6 Exploiting computational paradigms for electroacoustic music analysis
- 7 OREMA: an analytical community
- 8 EAnalysis: developing a sound-based music analytical tool
- Part IV Analyses of key works
- Index
- References
8 - EAnalysis: developing a sound-based music analytical tool
from Part III - Harnessing new forces
Published online by Cambridge University Press: 05 April 2016
Book contents
- Expanding the Horizon of Electroacoustic Music Analysis
- Expanding the Horizon of Electroacoustic Music Analysis
- Copyright page
- Contents
- Figures
- Contributors
- Part I Setting the scene
- Part II Ideas and challenges
- Part III Harnessing new forces
- 6 Exploiting computational paradigms for electroacoustic music analysis
- 7 OREMA: an analytical community
- 8 EAnalysis: developing a sound-based music analytical tool
- Part IV Analyses of key works
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Expanding the Horizon of Electroacoustic Music Analysis , pp. 170 - 194Publisher: Cambridge University PressPrint publication year: 2016
References
Barkati, K., Bonardi, A., Vincent, A. and Rousseaux, F. 2012. GAMELAN: A knowledge approach for digital audio production workflows. Artificial Intelligence for Knowledge Management. Montpellier: ECAI/IFIP.Google Scholar
Battier, M., Cheret, B., Lemouton, S. and Manoury, P. 2003. PMA LIB: The Electronic Music of Philippe Manoury. Paris: IRCAM.Google Scholar
Chouvel, J. M. 2011. Musical analysis and the representation. 7th European Music Analysis Conference. Rome. http://jeanmarc.chouvel.3.free.fr/textes/English/AnalysisAndRepresentationMTO.pdf.Google Scholar
Chouvel, J. M., Bresson, J. and Agon, C. 2007. L’analyse musicale différentielle: principes, représentation et application à l’analyse de l’interprétation. EMS Conference. Leicester: De Montfort University. http://jeanmarc.chouvel.3.free.fr/Flash/ArticleTFDHTML/index.html.Google Scholar
Clarke, M. 2012. Analysing electroacoustic music: An interactive aural approach. Music Analysis 31(3), 347–80.CrossRefGoogle Scholar
Couprie, P. 2000. Transformation/transmutation. Analyse d’un extrait de Don Quichotte Corporation d’Alain Savouret. La musique électroacoustique. Paris: INA-GRM/Hyptique.Google Scholar
Couprie, P. 2006. (Re)Presenting electroacoustic music. Organised Sound 11(2), 119–23.CrossRefGoogle Scholar
Couprie, P. 2009. La representación gráfica: una herramienta de análisis y de publicación de la música. Doce Notas, El análisis de la música 19–20, 172–80.Google Scholar
Di Santo, J. L. 2009. L’acousmoscribe, un éditeur de partitions acousmatiques. EMS Conference. Buenos Aires: UNTREF. www.ems-network.org/ems09/papers/disanto.pdf.Google Scholar
Emmerson, S. 1986. The Relation of Language to Materials. In Emmerson, S. (ed.) The Language of Electroacoustic Music. Houndmills: Palgrave Macmillan.CrossRefGoogle Scholar
Hautbois, X. 2013. Temporal Semiotic Units (TSUs), a very short introduction. www.labo-mim.org/site/index.php?2013/03/29/225-temporal-semiotic-units-tsus-a-very-short-introduction.Google Scholar
Koechlin, O. 2011. De l’influence des outils numériques interactifs sur le temps musical. Musimédiane 6. www.musimediane.com.Google Scholar
Landy, L. 2007. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press.CrossRefGoogle Scholar
Malt, M. and Jourdan, E. 2015. Le BStD – Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore.Google Scholar
McAdams, S. and Battier, M. 2005. Creation and Perception of a Contemporary Musical Work: The Angel of Death by Roger Reynolds. Paris: IRCAM.Google Scholar
Roy, S. 2003. L’analyse des musiques électroacoustiques: modèles et propositions. Paris: L’Harmattan.Google Scholar
Smalley, D. 1997. Spectromorphology: Explaining sound-shapes. Organised Sound 2(2), 107–26.CrossRefGoogle Scholar
Teruggi, D. and Couprie, P. 2001. Hétérozygote et les Presque rien. Portrait Polychromes Luc Ferrari. Paris: INA-GRM.Google Scholar
Thoresen, L. 2007. Spectromorphological analysis of sound objects: An adaptation of Pierre Schaeffer’s typomorphology. Organised Sound 12(2), 129–41.CrossRefGoogle Scholar
Zattra, L. and Orio, N. 2009. ACAME – Analyse comparative automatique de la musique électroacoustique. Musimédiane 4. www.musimediane.com/spip.php?article87.Google Scholar
- 4
- Cited by