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- 주제어 : Acousmatic Music Composition (검색결과 2 건)
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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.
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Sonic Ontologies: the enduring legacy of French Electro-Acoustic Music
Massimo Vito Avantaggiato 한국전자음악협회 2025 에밀레 Vol.23 No.-
This paper examines the legacy of the French/ French-Canadian electro-acoustic tradition, arguing that its importance lies not only in technical innovation but in a radical redefinition of sound and listening. From Pierre Schaeffer’s musique concrète and the institutional work of the Groupe de Recherches Musicales (GRM) to later developments at IRCAM, the French school introduced concepts such as acousmatic listening and spatialization, establishing a new ontology of sound. French electroacoustic music must therefore be understood not simply as a technical precursor to electronic practices, but as a profound reconfiguration of how sound and listening are conceived. Its commitment to phenomenology, psychoacoustics, and semiotics effected an epistemological rupture, shifting attention from musical syntax to sonic materiality. Through a critical historiography and close listening analyses, the paper shows how the French tradition redefined the composer–listener relationship, introduced a poetics of sonic materiality, and laid the conceptual groundwork for spatialized sound practices and algorithmic composition. By pioneering acousmatic listening, spatialization, and tape-based transformations, and by developing software for composition, orchestration, and sound design in the digital era, the French school laid foundations for contemporary approaches across algorithmic composition, sound art, immersive media.
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