Geschichte und Ästhetik der elektronischen Musik 2

Zeichen – Symbole – Notationen
Mittwoch 15 – 17 Uhr

Weiterführende Literatur

Analyse Elektroakustischer Musik

Philippe Lalitte
Towards a semiotic model of mixed music analysis
Organised Sound 11(2) 99–106 (2006 )

Simon Emmerson
Acoustic/Electroacoustic: The Relationship with Instruments
Routledge Journal of New Music Research 27 (1998 )
Leilo Camillieri
Electroacoustic Music: Analysis and Listening Process
http://http://www.memex.it/sonus/camilleri.PDF

Mary Simoni
Analytical methods of electroacoustic music
New York
[u.a.]: Routledge 301 (2005 )
Dennis Smalley
Can Electro-Acoustic Music be Analyzed?
(1991 )

Marco Stroppa
The analysis of electronic music
Contemporary Music Review 1 175 – 180 (1984 )

Trevor Wishart
On Sonic Art
harwood academic publishers (1996 )

Thomas Licata
Electroacoustic Music. Analytical Perspectives
Greenwood Press (2002 )

Laura Zattra
Analysis and Analyses of Electroacoustic Music
(2005 )
http://smc.afim-asso.org/smc05/papers/LauraZattra/LZanalysis.pdf

Notation

Dannenberg, Roger B.
A Brief Survey of Music Representation Issues, Techniques, and Systems
Dannenberg, Roger B.
Extending Music Notation Through Programming 1

Traditional notation has led to the continuation of a traditional musical approach in which scores are static descriptions to be realized by performers. Borrowing programming concepts from computer science leads to score-like descriptions with the capability of expressing dynamic processes and interaction with performers. The implications for composition, performance, and future research are discussed.
Ingram, J.
Developing Traditions of Music Notation and Performance on the Web
(2002)

There are many living traditions of written music, each ofwhich consists of evolving, high-Ievel symbolic notation andperformance praetices. Ajinite, universal standardfor musicnotation and its performance is therefore neither possiblenor desirable. The web should, on the contrary, allow writtenand aural traditions to develop freely and independently.The aim of this paper is to describe some concepts whichwould allow different musical traditions to evolve in parallel,and to suggest some orientation for programmers wantingto write .flexible tools for a developing culture.After a brief introduction, an analysis of the top levelmechanisms by which written and aural traditions evolve ispresented. This high level description is subsequentlycompared to a proposal for a general architecture for musicediting software. This architecture, and the relation of itssymbol libraries to agent technologies, is covered in greaterdetail in [1].A concrete example is then provided, showing how theauthor began to develop one such library of symbols whiletranscribing a piece of electronic music (Sonal Atoms byCurtis Roads) [2].
Patton, Kevin
Morphological notation for interactive electroacoustic music
Org. Sound  12  123–128  (2007)
Smalley, Denis
Spectromorphology: explaining sound-shapes
Org. Sound  2  107–126
Whalley, Ian
Applications of system dynamics modelling to computer music
Org. Sound  5  149–157  (2000)

Based on a composer’s psycho-acoustic imagination or response to music, system dynamics modelling and simulation tools can be used as a scoring device to map the structural dynamic shape of interest of computer music compositions. The tools can also be used as a generator of compositional ideas reflecting thematic juxtaposition and emotional flux in musical narratives. These techniques allow the modelling of everyday narratives to provide a structural/metaphorical means of music composition based on archetypes that are shared with wider audiences. The methods are outlined using two examples.
Wulfson, Harris and Barrett, G. Douglas and Winter, Michael
Automatic Notation Generators
(2007)

This article presents various custom software tools called Automatic Notation Generators (ANG’s) developed by the authors to aid in the creation of algorithmic instrumental compositions. The unique possibilities afforded by ANG software are described, along with relevant examples of their compositional output. These avenues of exploration include: mappings of spectral data directly into notated music, the creation of software transcribers that enable users to generate multiple realizations of algorithmic compositions, and new types of spontaneous performance with live generated screen-based music notation. The authors present their existing software tools along with suggestions for future research and artistic inquiry.