Space, sonic trajectories and the perception of cadence in electroacoustic music

2021 ◽  
pp. 1-13
Author(s):  
Luca Danieli ◽  
Maria Witek ◽  
Christopher Haworth
Keyword(s):  
Electroacoustic Music

scholarly journals Comparative Time Series Analysis of Perceptual Responses to Electroacoustic Music

2012 ◽  
Vol 29 (4) ◽  
pp. 359-375 ◽  
Author(s):  
Freya Bailes ◽  
Roger T. Dean
Keyword(s):  
Time Series ◽  
Sound Intensity ◽  
Electroacoustic Music ◽  
Affective Content ◽  
Musical Expertise ◽  
Perceived Change ◽  
Time Series Analyses ◽  
Time Perceptions ◽  
The Relationship ◽  
Acoustic Measure

this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners' real-time perceptions of their structure and affective content. Thirty-two participants varying in musical expertise (nonmusicians, classical musicians, expert computer musicians) continuously rated the affect (arousal and valence) and structure (change in sound) they perceived in four compositions of approximately three minutes duration. Time series analyses tested the hypotheses that sound intensity influences listener perceptions of structure and arousal, and spectral flatness influences perceptions of structure and valence. Results suggest that intensity strongly influences perceived change in sound, and to a lesser extent listener perceptions of arousal. Spectral flatness measures were only weakly related to listener perceptions, and valence was not strongly shaped by either acoustic measure. Differences in response by composition and musical expertise suggest that, particularly with respect to the perception of valence, individual experience (familiarity and liking), and meaningful sound associations mediate perception.

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.

The Analysis of Electroacoustic Music: from sources to invariants

2006 ◽  
Vol 11 (2) ◽  
pp. 101-112 ◽  
Author(s):  
BRUNO BOSSIS
Keyword(s):  
Real Time ◽  
Electroacoustic Music ◽  
Musical Instruments ◽  
Documentary Sources ◽  
Synthetic Vision ◽  
Technological Context ◽  
Systematic Musicology ◽  
Many Sources ◽  
Musical Genres

The musicologist is confronted with many situations during the analysis of electroacoustic music, whether on support media, mixed, or real-time. Musical genres and styles vary greatly, and the collection of electronic musical instruments has also proven to be very heterogeneous. The intrinsic characteristics of the electroacoustic parts and their scoring create serious limitations. Furthermore, many sources remain inaccessible or are already lost. Thus the preoccupation with documentary sources related to the acts of creation, interpretation, and technological context becomes more and more pressing. It is now essential to formulate a synthetic vision of this music, which has existed for half a century, and to pursue the search for invariants. This work must be based on a rigorous methodology that has yet to be developed. More generally speaking, the goal is to establish the terms and conditions of a systematic musicology of electroacoustics.

Creating Multiple Spatial Settings with “Granular Spatialisation” in the High-Density Loudspeaker Array of the Cube Concert Hall

2016 ◽  
Vol 40 (4) ◽  
pp. 79-90
Author(s):  
Javier Alejandro Garavaglia
Keyword(s):  
Electroacoustic Music ◽  
Virginia Polytechnic Institute ◽  
High Density ◽  
Polytechnic Institute ◽  
Large Array ◽  
State University ◽  
Spatial Audio ◽  
Concert Hall

This article offers an alternative for spatializing electroacoustic music using high-density loudspeaker arrays (HDLAs). It describes and contextualizes experimentation with the large array of speakers of the Cube concert hall made during the Spatial Audio Workshop residency at the Moss Arts Center, Virginia Polytechnic Institute and State University in August 2015. The experiments were performed using the implementation of “Granular Spatialisation” (GS), a technique developed by the author for sound diffusion in HDLAs. This is based on the projection of sound using spatial grains of “microdurations,” with ideally one grain individually addressing each speaker of the array. The article focuses on particular aspects of, challenges from, and strategies for using GS for the projection of sound with the Cube's array of 138 loudspeakers, including four independent subwoofers, while composing a new acousmatic piece that was diffused in the Cube at the end of the residency.

A generic model for compositional approaches to audiovisual media

1998 ◽  
Vol 3 (3) ◽  
pp. 199-209 ◽  
Author(s):  
Andy Hunt ◽  
Ross Kirk ◽  
Richard Orton ◽  
Benji Merrison
Keyword(s):  
Black Box ◽  
Electroacoustic Music ◽  
Generic Model ◽  
Image Generation ◽  
Algorithmic Composition ◽  
Moving Image ◽  
Audiovisual Media ◽  
Computer Mediated ◽  
The Aesthetic ◽  
Compositional Approaches

The challenge of composing both sound and moving image within a coherent computer-mediated framework is addressed, and some of the aesthetic issues highlighted. A conceptual model for an audiovisual delivery system is proposed, and this model acts as a guide for detailed discussion of some illustrative examples of audiovisual composition. Options for types of score generated as graphical output of the system are outlined. The need for extensive algorithmic control of compositional decisions within an interactive framework is proposed. The combination of Tabula Vigilans Audio Interactive (TVAI), an algorithmic composition language for electroacoustic music and realtime image generation, with MIDAS, a multiprocessor audiovisual system platform, is shown to have the features desired for the conceptual outline given earlier, and examples are given of work achieved using these resources. It is shown that ultimately delivery of new work may be efficiently distributed via the World Wide Web, with composers' interactive scripts delivered remotely but rendered locally by means of a user's ‘rendering black box’.

The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site

2013 ◽  
Vol 18 (2) ◽  
pp. 124-133 ◽  
Author(s):  
Motje Wolf
Keyword(s):  
Conceptual Knowledge ◽  
Large Scale ◽  
Qualitative Content Analysis ◽  
Electroacoustic Music ◽  
Online Environment ◽  
Listening Skills ◽  
Teaching Resource ◽  
Listening Experience ◽  
Key Stage 3 ◽  
Resource Site

This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.

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