드론음악의미시적음향변화분석 - 엘리안 라디그의 <Kyema>를 중심으로 -

권현우 대중음악콘텐츠학회 2026 대중음악콘텐츠 Vol.10 No.1

드론 음악은 "변화가 거의 없는 것처럼 들리는 상태"라는 정의와 함께 음악 분석에서 충분히 다루어지지 못했다. 본 연구는 엘리안 라디그의 <Kyema>(1988)를 대상으로 Python 기반 MIR 방법 론을 활용하여 드론 음악의 미시적 음향 변화 양상을 살펴보고, 전자음악 분석에서 MIR 방법론의 가능성을 검토하는 것을 목적으로 하였다. 분석은 두 단계로 수행되었다. 1단계에서는 MFCC 기반 자기유사성 행렬과 Novelty Curve를 통해 전곡을 8개의 거시 구간으로 귀납적으로 분석하였고, 2단계에서는 S4~S7 네 구간에 대해 스펙트럼 센트로이드, RMS 에너지, 스펙트럼 플럭스, 스펙트럼 평탄도 등을 활용한 고해상도 미시 분석을 수행하였다. 분석 결과, <Kyema>의 음향 데이터 층위에 서는 S4의 극도로 안정된 정체로부터 S5의 에너지 축적, S6의 텍스처 전환, S7의 폭발적 미시 변 화 증가로 이어지는 구조화된 흐름이 확인되었다. 스펙트럼 플럭스 평균값은 S4 대비 S7에서 약 3.2배, 스펙트럼 평탄도 평균값은 S6이 S4의 약 2.7배에 달하였다. 이는 드론 음악을 "변화가 거의 없는 것처럼 들리는 음악"으로 규정하는 기존의 이해에 실증적 근거를 통해 재고의 여지를 제공하며, MIR 기반 정량 분석이 드론 음악의 정체 내부를 탐색하는 유효한 분석적 접근이 될 수 있음을 시사한다. Drone music has often been defined as “a state that sounds as if there is little to no change,” and, under this definition, it has not been sufficiently addressed in music analysis. This study aims to examine the patterns of micro-level sonic variation in Kyema(1988) by Éliane Radigue, using a Python-based Music Information Retrieval (MIR) methodology, and to explore the analytical potential of MIR approaches in the context of electroacoustic music. The analysis was conducted in two stages. In the first stage, the overall structure of the piece was inductively derived by constructing a Self-Similarity Matrix (SSM) based on Mel-Frequency Cepstral Coefficients (MFCCs), along with a Novelty Curve, resulting in the segmentation of the work into eight macro sections. In the second stage, four selected sections (S4–S7) were subjected to high-resolution micro-level analysis using spectral centroid, RMS energy, spectral flux, and spectral flatness. The results reveal a structured progression within the sonic data of Kyema, moving from the extreme stability of S4 to the accumulation of energy in S5, a textural transition in S6, and a marked increase in micro-level fluctuations in S7. The mean spectral flux in S7 was approximately 3.2 times higher than in S4, while the mean spectral flatness in S6 was about 2.7 times greater than that of S4. This provides room to reconsider the prevailing view that defines drone music as “music that sounds as if there is little to no change,” by offering empirical evidence, and suggests that MIR-based quantitative analysis can serve as a valid analytical approach for exploring the internal structure of drone music.

Compositional Structure and Functional Analysis of ‘Globalalia’

Berk Yagli(버크 야글리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding Globalalia, the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.

PROCESSING “REPRESENTATIVE CHARGE”: EMBODIED LISTENING AND LUCIANO BERIO’S VISAGE

Jasmine Thomasian(재스민 토마시안) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Literature on electroacoustic music has tended to focus primarily on the mental processes of creating and listening to the genre, reinforcing an Enlightenment-era mind/body dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.

The Salient Aesthetics of Hyperpop

가브리엘 게코스키 한국전자음악협회 2025 에밀레 Vol.23 No.-

Hyperpop functions as a late-capitalist aesthetic formation in which maximalism and deviance operate as strategies of desubjectification, parody, and resistance within digitally mediated popular music. Maximalism is articulated as a compositional and artistic process that decentralizes authorship through excess and oversaturation, while deviance is understood as a deliberate departure from heteronormative, genre-bound, and capitalist norms. Rather than constituting a stable musical genre, hyperpop emerges as an ethos (Shorey 2020) shaped by postmodern selfreference, platform circulation, and the absorption of critique into market structures. Analyses of works by SOPHIE, 100 gecs (Laura Les and Dylan Brady), and brakence (Randy Findell) demonstrate how these artists mobilize exaggerated production techniques, vocal modification, and formal parody to both inhabit and destabilize pop music conventions. These practices situate hyperpop at the intersection of digital identity formation, queerness, and contemporary electronic music aesthetics, and provide a framework for further musicological and cultural analysis.

A System of Contexts for the Analysis of Electroacoustic Music

Guillermo Pozzati(기예르모 포자티) 한국전자음악협회 2021 에밀레 Vol.19 No.-

A system of contexts for the analysis of electroacoustic music is introduced. Four different types of context are considered and taken as the basic components of a theoretical system for musical analysis. On the one hand, there is the context defined by the work itself, made up of all the sounds, structures, events and sound objects that are part of the piece and whose organization allows the work to be identified as such, as a unit. On the other hand, there is the context formed by all the baggage of knowledge, experiences, expectations, beliefs and assessment criteria that the listener has built or acquired prior to listening to the piece of music. Two types of sub-contexts within the piece are also taken into consideration, the one defined by isolated sounds and that defined by musical segments encompassing several sounds. To explore the interactions between these contexts eight types of relationships between them are defined and examples of how they operate in real musical pieces are given. A multitude of usual terms and concepts in musical analysis such as reduced listening, fractality, sound, musical piece, musical style, etc. are reviewed in light of these interactions.