Hostname: page-component-586b7cd67f-2plfb Total loading time: 0 Render date: 2024-11-22T05:31:31.988Z Has data issue: false hasContentIssue false
  • English
  • Français

Describe, Transcribe, Notate: Prospects and problems facing electroacoustic music

Published online by Cambridge University Press:  05 March 2015

Marc Battier
Marc Battier*
Affiliation:
Institut de recherche en musicologie UMR8223, MINT, University Paris-Sorbonne, 28 rue Serpente, F-75006, Paris, France
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

The question of notation regarding electroacoustic music has appeared episodically along the course of its development. With the advent of digital techniques, now universally used, through the development of musicological studies of the field, and with the surge of interactive devices between computers and performers, the need for various forms of representing sounds and data has never been so strong.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 1: Special issue: Organised Sound Celebrates 20 Years , April 2015 , pp. 60 - 67
Copyright
© Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Battier, Marc. 2008. Timbres-durées d’Olivier Messiaen: une œuvre entre conception abstraite et matériau concret. Paris: Institut national de l’audiovisuel.Google Scholar
Battier, Marc. 2014. Recent Discoveries in the Spatial Thought of Early Musique Concrète, in Technische Universität Berlin, Kompositionen für hörbaren Raum: Die frühe elektronische Musik und ihre Kontexte. Berlin: Technische Universität Berlin.Google Scholar
Behrman, David. 1976. What Indeterminate Notation Determines. In B. Boretz and E. T. Cone (eds.) Perspectives on Notation and Performance. New York: Norton.Google Scholar
Couprie, Pierre and Malt, Mikhail. 2014. Representation: From Acoustics to Musical Analysis. Proceedings of the 14th Electroacoustic Music Studies Network Conference (EMS14, Akademie der Kunst, Berlin), forthcoming on line at www.ems-network.org.Google Scholar
Delalande, François. 2013. Analyser la musique, pourquoi, comment?. Paris: INA.Google Scholar
Fennelly, Brian. 1967. A Descriptive Notation for Electronic Music. Perspectives of New Music, 6(1): 79–95.Google Scholar
Fennelly, Brian. 1968. A Descriptive Notation for Electronic Music. PhD dissertation, Yale University.Google Scholar
Hajdu, Georg and Didkovsky, Nick. 2009. On the Evolution of Music Notation in Network Music Environments. Contemporary Music Review 28(4/5): 395–407.Google Scholar
Hope, Cat and Vickery, Lindsay. 2011. Screen Scores: New Media Music Manuscripts. Proceedings of the International Computer Music Conference, San Francisco: ICMA, 224–30.Google Scholar
Kagel, Mauricio. 1962–64. Prima Vista. Vienna: Universal Edition.Google Scholar
Laboratoire musique et informatique de Marseille. 1996. Les Unités sémiotiques temporelles: éléments nouveaux d’analyse musicale. Marseilles: Éditions MIM.Google Scholar
Malt, Mikhail and Jourdan, Emmanuel. 2011. Real-Time Uses of Low Level Sound Descriptors as Event Detection Functions. Journal of New Music Research 40(3): 217–223.Google Scholar
Nattiez, Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music, trans. Carolyn Abbate. Princeton: Princeton University Press.Google Scholar
Roy, Stéphane. 2003. L’analyse des musiques électroacoustiques: modèles et propositions. Paris: L’Harmattan.Google Scholar
Schaeffer, Bogusław. 1968. Symphony – Muzyka Elektroniczna. Kraków: PWM Edition.Google Scholar
Schaeffer, Pierre. 1952. À la recherche d’une musique concrète, Paris: Le Seuil. Translated by John Dack and Christine North, 2012. In Search of a Concrete Music, Berkeley: University of California Press.Google Scholar
Schaeffer, Pierre. 1966. Traité des objets musicaux. Paris: Le Seuil.Google Scholar
Seeger, Charles. 1958. Prescriptive and Descriptive Music-Writing. The Musical Quarterly 44(2): 184–195.Google Scholar
Stockhausen, Karlheinz. 1985. Electronic Music for Kathinka’s Chant as Lucifer’s Requiem, trans. Jerome Kohl. Perspectives of New Music 23(2): 40–60.Google Scholar
Thoresen, Lasse. 2007. Spectromorphological Analysis of Sound-Objects: An Adaptation of Pierre Schaeffer’s Typomorphology. Organised Sound 12(2): 129–141.Google Scholar
Thoresen, Lasse. Emergent Musical Forms. Forthcoming.Google Scholar
Tormey, Alan. 2011. Developing Music Notation for the Live Performance of Electronic Music. Montreal: Proceedings of the Concordia Live and Interactive Electroacoustic Colloquium.Google Scholar
Valéry, Paul. 1937a. Discours sur l’esthétique, in Variété IV (1939). Republished in Oeuvres de Paul Valéry. Paris: Gallimard, 1957.Google Scholar
Valéry, Paul. 1937b. Première leçon du cours de poétique. Variété V. Paris: Gallimard, 1944.Google Scholar
Vickery, Lindsay. 2012. The Evolution of Notational Innovations from the Mobile Score to the Screen Score. Organised Sound 17(2): 128–136.Google Scholar
Winkler, Gerhard E. 2010. The Real-Time-Score: Nucleus and Fluid Opus. Contemporary Music Review 29(1): 89–100.Google Scholar
Zattra, Laura. 2004. Searching for Lost Data: Outlines of Esthesic-Poietic Analysis. Organised Sound 9(1): 35–46.CrossRefGoogle Scholar
Zattra, Laura. 2011. Studiare la computer music, Padova: Libreriauniversitaria.it edizioni.Google Scholar

Further reading

Gayou, Evelyne. 2007. GRM Le groupe de recherches musicales: cinquante ans d’histoire. Paris: Fayard.Google Scholar