Expanding the Horizon of Electroacoustic Music Analysis

A state-of-the-art overview of the analysis of electroacoustic music, which includes discussions of a wide range of works.

Simon Emmerson (Edited by), Leigh Landy (Edited by)

9781107544055, Cambridge University Press

Paperback / softback, published 26 April 2018

417 pages, 82 b/w illus. 9 tables
24.5 x 17 x 2.3 cm, 0.75 kg

'The contributors share profound insights on a variety of subjects and demonstrate tools and methodologies that address the unique challenges of electroacoustic music analysis. Composers, performers, analysts, and educators will find this collection to be a valuable source of course readings, analytical examples, and creative inspiration. It is also an essential book for college and university library collections that support music technology, music theory, and electroacoustic music composition programs.' Joel V. Hunt, Notes

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.

Part I. Setting the Scene: Introduction Simon Emmerson and Leigh Landy
1. The analysis of electroacoustic music – the differing needs of its genres and categories Simon Emmerson and Leigh Landy
Part II. Ideas and Challenges: 2. Listening and meaning: how a model of mental layers informs electroacoustic music analysis Gary Kendall
3. Forming form John Young
4. Interactive and generative music: a quagmire for the musical analyst Michael Young
5. Some ideas concerning the relationship between form and texture Raúl Minsburg
Part III. Harnessing New Forces: 6. Exploiting computational paradigms for electroacoustic music analysis Tae Hong Park
7. OREMA – an analytical community Michael Gatt
8. EAnalysis: developing a sound-based music analytical tool Pierre Couprie
Part IV. Analyses of Key Works: 9. Trevor Wishart's Children's Stories II from Encounters in the Republic of Heaven: an analysis for children of a sample-based composition Leigh Landy
10. Analysis of Foil by Autechre (from Amber (1994)) Ben Ramsay
11. Temporal recurrence in Andrew Lewis's Penmon Point Ambrose Seddon
12. Michel Waisvisz: No Backup/Hyper Instruments John Ferguson
13. Analysing sound art: Douglas Henderson's Fadensonnen (2009) Kersten Glandien
14. Analysing the identifiable: cultural borrowing in Diana Salazar's La voz del fuelle Manuella Blackburn
15. Kireek 2011 championship routine analysis Sophy Smith
16. The analysis of live and interactive electroacoustic music: Hans Tutschku – Zellen-Linien (2007) Simon Emmerson
17. Audio only computer games – Papa Sangre Andrew Hugill and Panos Amelides
18. Some questions around listening: Vancouver Soundscape Revisited by Claude Schryer Katharine Norman.

Subject Areas: Computer programming / software development [UM], Acoustic & sound engineering [TTA], Language teaching & learning material & coursework [CJB], Ambient & New Age music [AVGZ], Electronic music [AVGV], 20th century & contemporary classical music [AVGC6], Theory of music & musicology [AVA], Music [AV]