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
- 6 Exploiting computational paradigms for electroacoustic music analysis
- 7 OREMA: an analytical community
- 8 EAnalysis: developing a sound-based music analytical tool
- Part IV Analyses of key works
- Index
- References
7 - OREMA: an analytical community
from Part III - Harnessing new forces
Published online by Cambridge University Press: 05 April 2016
By
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
- 6 Exploiting computational paradigms for electroacoustic music analysis
- 7 OREMA: an analytical community
- 8 EAnalysis: developing a sound-based music analytical tool
- Part IV Analyses of key works
- 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. 148 - 169Publisher: Cambridge University PressPrint publication year: 2016
References
Batchelor, P. (1997) Peter Batchelor’s Valley Flow analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/peter-batchelors-valley-flow-analysis (accessed 27 September 2012).Google Scholar
Bent, I. (1980) Analysis. In Sadie, S. (ed.) The New Grove Dictionary of Music and Musicians Volume 1. London: Macmillan, 340–88.Google Scholar
Blackburn, M. (2006) Manuella Blackburn’s Valley Flow analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/manuella-blackburns-valley-flow-analysis (accessed 27 September 2012).Google Scholar
Constantinou, S. (2011) Stace Constantinou’s Dripsody analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/stace-constantinous-dripsody-analysis (accessed 27 September 2012).Google Scholar
Finch, J. et al. (2012) Accessibility, sustainability, excellence: How to expand access to research publications. The Research Information Network. www.researchinfonet.org/wp-content/uploads/2012/06/Finch-Group-report-FINAL-VERSION.pdf (accessed 27 September 2012).Google Scholar
Gatt, M. (2011a) Michael Gatt’s Dripsody analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/michael-gatts-dripsody-analysis (accessed 27 September 2012).Google Scholar
Gatt, M. (2011b) Michael Gatt’s Étude aux chemins de fer analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/michael-gatt%E2%80%99s-%C3%A9tude-aux-chemins-de-fer-analysis (accessed 27 September 2012).Google Scholar
Glott, R. et al. (2010) Wikipedia survey – overview of results. UNU-MERIT. www.wikipediasurvey.org/docs/Wikipedia_Overview_15March2010-FINAL.pdf (accessed 27 September 2012).Google Scholar
Hill, A. (2011) Andrew Hill’s Dripsody analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/andrew-hills-dripsody-analysis (accessed 27 September 2012).Google Scholar
Hugill, A. (2012) Andrew Hugill’s Papa Sangre analysis. The OREMA project. www.orema.dmu.ac.uk/?q=content/andrew-hugills-papa-sangre-analysis (accessed 27 September 2012).Google Scholar
Landy, L. (1999) Reviewing the musicology of electroacoustic music: A plea for greater triangulation. Organised Sound, 4(1), 61–70.CrossRefGoogle Scholar
Landy, L. (2006) The Intention/Reception project. In Simoni, M. (ed.) Analytical Methods of Electroacoustic Music. London: Routledge.Google Scholar
Nattiez, J.-J. (1990) Music and Discourse: Toward a Semiology of Music. Princeton University Press.Google Scholar
Naughton, J. (2012) Academic publishing doesn’t add up. Guardian, 22 April. www.guardian.co.uk/technology/2012/apr/22/academic-publishing-monopoly-challenged (accessed 27 September 2012).Google Scholar
Ramsey, B. (2012) Ben Ramsay’s analysis of Internal Clock by Monolake. The OREMA project. www.orema.dmu.ac.uk/?q=content/ben-ramsays-analysis-%E2%80%98internal-clock%E2%80%99-monolake (accessed 27 September 2012).Google Scholar
Roy, S. (2003) L’analyse des musiques életroacoustiques: Modèles et propositions. Paris: L’Harmattan.Google Scholar
Schaeffer, P. (2012) In Search of a Concrete Music. Trans. Dack, John and North, Christine. Los Angeles: University of California Press (orig. pub. À la recherche d’une musique concrète, 1952).CrossRefGoogle Scholar
Smalley, D. (1986) Spectro-morphology and structuring processes. In Emmerson, S. (ed.) The Language of Electroacoustic Music. London, Macmillan, 61–93.CrossRefGoogle Scholar
Smalley, D. (1997) Spectromorphology: Explaining sound-shapes. Organised Sound, 2(2), 107–26.CrossRefGoogle Scholar
Weale, R. (2006). Discovering how accessible electroacoustic music can be: The Intention/Reception project. Organised Sound, 11(2), 189–200.CrossRefGoogle Scholar
Wikimedia UK (2012) Wikimedia UK annual report 2011–12. Kingston upon Thames: PDC Copyprint. http://upload.wikimedia.org/wikipedia/commons/b/be/Wikimedia_UK_AR_2012_web.pdf (accessed 10 September 2012).Google Scholar