The OREMA Project: A call for the liberation of sound analysis

2015 ◽  
Vol 20 (3) ◽  
pp. 316-322
Author(s):  
Michael Gatt
Keyword(s):  
Music Analysis ◽  
Electroacoustic Music ◽  
Technological Advancement ◽  
Sound Analysis ◽  
General Consensus ◽  
Musical Notation ◽  
Art Form ◽  
Universal Approach ◽  
Musical Works

Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.

Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM

2006 ◽  
Vol 11 (2) ◽  
pp. 125-129 ◽  
Author(s):  
ÉVELYNE GAYOU
Keyword(s):  
Research Work ◽  
Electroacoustic Music ◽  
Theoretical Research ◽  
The Internet ◽  
Primary Concern ◽  
Internet Site ◽  
Multimedia Documents ◽  
Multimedia Tools ◽  
Musical Works ◽  
The 1950S

Portraits polychromes are a series of books associated with multimedia documents presented on the Internet site of the GRM since 2001. In releasing this collection, our primary concern was to increase awareness of the electroacoustic repertoire and the reserves in the GRM archives. The GRM, being a pioneering centre of electroacoustics, is fortunate to possess a consistent and significant reserve dating back to the beginning of the 1950s. At present, the catalogue contains around 2,000 works, accompanied with supplementary documents: composer's biographies, reviews, photographs, documentary movies, radio broadcasts, recorded public lectures, theoretical research work, transcriptions and analyses. In addition to the heritage value of the GRM's collection, the enterprise of the Portraits polychromes, with the aid of multimedia tools, aims to advance the progress of research on analysis and the transcription of musical works.

Berio's ‘Visage’ and the Theatre of Electroacoustic Music

Tempo ◽  
1995 ◽  
pp. 15-21 ◽  
Author(s):  
Richard Causton
Keyword(s):  
Everyday Life ◽  
Real Life ◽  
Electroacoustic Music ◽  
Western Civilization ◽  
Art Form ◽  
Concrete Form ◽  
Concert Halls

As a setting for the enactment of important or dramatic events, theatre may be located anywhere. The construction of special auditoria to accommodate aspects of theatre as an art form of re-presentation and re-enactment in no way invalidates the concept of a theatrical drama which unfolds in the imagination or in the arena of everyday life. Music, like theatre, may be inspired by real-life situations, but whereas in modern Western civilization it has taken on a life of its own, and is played in the rarefied isolation of concert halls, theatre, being a more concrete form of representational art, has retained much closer links with the outside world.

scholarly journals Graphical representation: an analytical and publication tool for electroacoustic music

2004 ◽  
Vol 9 (1) ◽  
pp. 109-113 ◽  
Author(s):  
PIERRE COUPRIE
Keyword(s):  
Graphical Representation ◽  
Music Analysis ◽  
Electroacoustic Music ◽  
The Other ◽  
Music Research

When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication.

The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition

2011 ◽  
Vol 16 (1) ◽  
pp. 5-13 ◽  
Author(s):  
Manuella Blackburn
Keyword(s):  
Music Analysis ◽  
Electroacoustic Music ◽  
Music Community

Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive application. Spectromorphology's influence has been far reaching, inciting approaches to electroacoustic music analysis (Thoresen 2007), notation (Patton 2007), composition and education through its flexible functionality and accessible pool of vocabulary.

Digitale Musikanalyse mit den Techniken der Music Encoding Initiative (MEI) am Beispiel von Kompositionsstudien Anton Bruckners

2021 ◽  
Vol 71 (4) ◽  
pp. 366-378
Author(s):  
Agnes Seipelt ◽  
Paul Gulewycz ◽  
Robert Klugseder
Keyword(s):  
Harmonic Analysis ◽  
Music Analysis ◽  
Digital Music ◽  
Markup Language ◽  
Musical Analysis ◽  
Musical Work ◽  
Musical Notation ◽  
Digital Edition ◽  
Current State ◽  
Computer Technologies

Studying the harmonic structures of a musical work and exploring its origins is one of the main tasks of traditional musicology. Since the advent of computer technologies, new tools for musical analysis emerged to gain new perspectives on well-known compositions. In the field of digital musical editions, the markup language MEI (Music Encoding Initiative) plays a prominent role for encoding musical notation with a musicological demand. This paper presents the current state of the project "Digital Music Analysis with MEI using the Example of Anton Bruckner's Compositional Studies". Its aim is to encode the "Kitzler Study book" written by Bruckner and to present it in a digital Edition. Also, the project explores the capability of MEI for an automatic or half-automatic harmonic analysis.

scholarly journals Scoring with Code: Composing with algorithmic notation

2014 ◽  
Vol 19 (3) ◽  
pp. 268-275 ◽  
Author(s):  
Thor Magnusson
Keyword(s):  
Programming Language ◽  
Linear Code ◽  
Computer Code ◽  
Musical Score ◽  
Compositional Process ◽  
Musical Notation ◽  
Art Form ◽  
New Form ◽  
Short Code

Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.

scholarly journals The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

2021 ◽  
Vol 22 (2) ◽  
pp. 100-104
Author(s):  
Peter Angga Branco De'Vries Mau ◽  
Prima Dona Hapsari
Keyword(s):  
Music Theory ◽  
Music Analysis ◽  
Musical Work ◽  
Music Department ◽  
Technological Advances ◽  
Music Structure ◽  
Musical Works ◽  
Musical Thinking ◽  
Musical Knowledge ◽  
Baroque Era

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

Sign in / Sign up

Export Citation Format

Share Document