Expanding the Horizon of Electroacoustic Music Analysis
Expanding the Horizon of Electroacoustic Music Analysis
Landy, Leigh; Emmerson, Simon
Cambridge University Press
04/2016
416
Dura
Inglês
9781107118324
1000
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Part I. Setting the Scene: Introduction Simon Emmerson and Leigh Landy; 1. The analysis of electroacoustic music - the differing needs of its genres and categories Simon Emmerson and Leigh Landy; Part II. Ideas and Challenges: 2. Listening and meaning: how a model of mental layers informs electroacoustic music analysis Gary Kendall; 3. Forming form John Young; 4. Interactive and generative music: a quagmire for the musical analyst Michael Young; 5. Some ideas concerning the relationship between form and texture Raul Minsburg; Part III. Harnessing New Forces: 6. Exploiting computational paradigms for electroacoustic music analysis Tae Hong Park; 7. OREMA - an analytical community Michael Gatt; 8. EAnalysis: developing a sound-based music analytical tool Pierre Couprie; Part IV. Analyses of Key Works: 9. Trevor Wishart's Children's Stories II from Encounters in the Republic of Heaven: an analysis for children of a sample-based composition Leigh Landy; 10. Analysis of Foil by Autechre (from Amber (1994)) Ben Ramsay; 11. Temporal recurrence in Andrew Lewis's Penmon Point Ambrose Seddon; 12. Michel Waisvisz: No Backup/Hyper Instruments John Ferguson; 13. Analysing sound art: Douglas Henderson's Fadensonnen (2009) Kersten Glandien; 14. Analysing the identifiable: cultural borrowing in Diana Salazar's La voz del fuelle Manuella Blackburn; 15. Kireek 2011 championship routine analysis Sophy Smith; 16. The analysis of live and interactive electroacoustic music: Hans Tutschku - Zellen-Linien (2007) Simon Emmerson; 17. Audio only computer games - Papa Sangre Andrew Hugill and Panos Amelides; 18. Some questions around listening: Vancouver Soundscape Revisited by Claude Schryer Katharine Norman.
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Part I. Setting the Scene: Introduction Simon Emmerson and Leigh Landy; 1. The analysis of electroacoustic music - the differing needs of its genres and categories Simon Emmerson and Leigh Landy; Part II. Ideas and Challenges: 2. Listening and meaning: how a model of mental layers informs electroacoustic music analysis Gary Kendall; 3. Forming form John Young; 4. Interactive and generative music: a quagmire for the musical analyst Michael Young; 5. Some ideas concerning the relationship between form and texture Raul Minsburg; Part III. Harnessing New Forces: 6. Exploiting computational paradigms for electroacoustic music analysis Tae Hong Park; 7. OREMA - an analytical community Michael Gatt; 8. EAnalysis: developing a sound-based music analytical tool Pierre Couprie; Part IV. Analyses of Key Works: 9. Trevor Wishart's Children's Stories II from Encounters in the Republic of Heaven: an analysis for children of a sample-based composition Leigh Landy; 10. Analysis of Foil by Autechre (from Amber (1994)) Ben Ramsay; 11. Temporal recurrence in Andrew Lewis's Penmon Point Ambrose Seddon; 12. Michel Waisvisz: No Backup/Hyper Instruments John Ferguson; 13. Analysing sound art: Douglas Henderson's Fadensonnen (2009) Kersten Glandien; 14. Analysing the identifiable: cultural borrowing in Diana Salazar's La voz del fuelle Manuella Blackburn; 15. Kireek 2011 championship routine analysis Sophy Smith; 16. The analysis of live and interactive electroacoustic music: Hans Tutschku - Zellen-Linien (2007) Simon Emmerson; 17. Audio only computer games - Papa Sangre Andrew Hugill and Panos Amelides; 18. Some questions around listening: Vancouver Soundscape Revisited by Claude Schryer Katharine Norman.
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