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.

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.

To mix or not to mix: unifying the creative process in composing for instruments and electronics

Laurie Radford(로리 래드퍼드) 한국전자음악협회 2023 에밀레 Vol.21 No.-

The design and composition of music and sound art performance that involves instruments in combination with a variety of electronic components demands a diverse and extensive skill and knowledge set. Pedagogical approaches that guide young practitioners in the creation of “mixed music” composition confront the challenge of striving to equip the composer with the necessary skills and experience drawn from many diverse practices and technologies, some of which are rarely considered in conventional pedagogical contexts. Categories of mixed music, mixed music studies, pedagogical approaches to the teaching of mixed music, and the skills and roles involved in mixed music production are discussed. The objective is to provide a global overview and consideration of the issues involved in teaching, learning and creating mixed music.

The Art and Science of Multichannel Audio in Electroacoustic Music: A Review

알리 발리기 한국전자음악협회 2024 에밀레 Vol.22 No.-

This article follows the historical and technological evolution of multichannel audio in electroacoustic music, from its origins in the 1950s with pioneers like Pierre Schaeffer to its present role as a central element in music composition and performance. It examines key advancements in spatialization techniques, including surround sound, ambisonics, and site-specific diffusion systems, highlighting their impact on spatial perception, listener envelopment, and auditory aesthetics. The discussion integrates insights into the creative and technical challenges of multichannel composition, emphasizing its capacity to enhance spatial imagery, evoke emotional responses, and redefine performance practices. By exploring emerging technologies such as augmented reality, machine learning, and networked audio systems, the article offers a comprehensive view of multichannel audio's transformative role in shaping contemporary electroacoustic music and its future possibilities.

Jonathan Harvey’s Mortuos Plango, Vivos Voco: The Electronic Sacred

Carlotta Ferrari(카를로타 페라리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Jonathan Harvey’s 1980 electroacoustic piece Mortuos plango, vivos voco features compositional strategies with a strong mystical side. Its dualism of life/death elements, both linked to different sound materials (voice and bell respectively), encourages a meditation that involves the listener’s inner dimension, thus providing the basis for a re-humanization of electronic music.

[Keynote Speech] What is Sonic Narrative?

Curtis Roads(커티스 로즈) 한국전자음악협회 2019 에밀레 Vol.17 No.-

The active human mind imbues perceptual experiences with meaning: what we see and hear signifies or represents something. Even abstract sounds can articulate structural functions and evoke moods. This means that they can be used to design a narrative structure. A compelling sonic narrative is the backbone of an effective piece of music. This paper examines the important concepts of sonic narrative, including narrative function, sonic causality, nonlinear narrative, antinarrative strategies, narrative context, humor/irony/provocation, narrative repose, and hearing narrative structure.

[기조연설] 컴퓨터음악이 지구를 지킬 수 있을까?

마라 헬무트(Mara Helmuth),조영미(번역자) 한국전자음악협회 2021 에밀레 Vol.19 No.-

A computer musician composing in the age of climate change will benefit from considering the state of the earth today, and the interaction of music and nature. I discuss a dual approach incorporating music and science in my works which are often shaped by natural sound, environmental concerns, stochastic processes and algorithms.