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
- Part IV Analyses of key works
- 9 Trevor Wishart’sChildren’s Stories IIfromEncounters in the Republic of Heaven: an analysis for children of a sample-based composition
- 10 Analysis ofFoilby Autechre (fromAmber(1994))
- 11 Temporal recurrence in Andrew Lewis’sPenmon Point
- 12 Michel Waisvisz:No Backup / Hyper Instruments
- 13 Analysing Sound Art: Douglas Henderson’sFadensonnen(2009)
- 14 Analysing the identifiable: cultural borrowing in Diana Salazar’sLa voz del fuelle
- 15 Kireek2011 Championship routine analysis
- 16 The analysis of live and interactive electroacoustic music: Hans Tutschku –Zellen-Linien(2007)
- 17 Audio-only computer games:Papa Sangre
- 18 Some questions around listening:Vancouver Soundscape Revisitedby Claude Schryer
- Index
- References
16 - The analysis of live and interactive electroacoustic music: Hans Tutschku –Zellen-Linien(2007)
from Part IV - Analyses of key works
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
- Part IV Analyses of key works
- 9 Trevor Wishart’sChildren’s Stories IIfromEncounters in the Republic of Heaven: an analysis for children of a sample-based composition
- 10 Analysis ofFoilby Autechre (fromAmber(1994))
- 11 Temporal recurrence in Andrew Lewis’sPenmon Point
- 12 Michel Waisvisz:No Backup / Hyper Instruments
- 13 Analysing Sound Art: Douglas Henderson’sFadensonnen(2009)
- 14 Analysing the identifiable: cultural borrowing in Diana Salazar’sLa voz del fuelle
- 15 Kireek2011 Championship routine analysis
- 16 The analysis of live and interactive electroacoustic music: Hans Tutschku –Zellen-Linien(2007)
- 17 Audio-only computer games:Papa Sangre
- 18 Some questions around listening:Vancouver Soundscape Revisitedby Claude Schryer
- 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. 333 - 354Publisher: Cambridge University PressPrint publication year: 2016
References
Emmerson, Simon (1998a) Acoustic/Electroacoustic: The relationship with instruments. Journal of New Music Research, 27(1–2), 146–64.CrossRefGoogle Scholar
Emmerson, Simon (1998b) Aural landscape: Musical space. Organised Sound, 3(2), 135–40.CrossRefGoogle Scholar
Emmerson, Simon (2009) Combining the acoustic and the digital: Music for instruments and computers or pre-recorded sound. In Dean, Roger (ed.), The Oxford Handbook of Computer Music. Oxford University Press, 167–88.Google Scholar
Emmerson, Simon (2011) Music Imagination Technology. Proceedings of the International Computer Music Conference, Huddersfield, 2011. San Francisco: ICMA, 365–71.Google Scholar
Kendall, Gary (2008) What is an event? The Event schema, circumstances, metaphor and gist. Proceedings of the International Computer Music Conference, Belfast, 2008. San Francisco: ICMA (unpaginated).Google Scholar
Moore, F. Richard (1988) The dysfunctions of MIDI. Computer Music Journal, 12(1), 19–28.CrossRefGoogle Scholar
Smalley, Denis (2007) Space-form and the acousmatic image. Organised Sound 2(2): 107–26.Google Scholar
Truax, Barry (1994) Discovering inner complexity: Time-shifting and transposition with a real-time granulation technique. Computer Music Journal 18(2), 38–48.CrossRefGoogle Scholar