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RISS 인기검색어
- 검색키워드
- 주제어 : Analysis of Electroacoustic Music (검색결과 3 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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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.
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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.
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