Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-77c89778f8-rkxrd Total loading time: 0 Render date: 2024-07-18T11:17:42.110Z Has data issue: false hasContentIssue false

3 - Forming form

from Part II - Ideas and challenges

Published online by Cambridge University Press:  05 April 2016

By
John Young
Edited by
Simon Emmerson  and
Leigh Landy
Simon Emmerson
Affiliation:
De Montfort University, Leicester
Leigh Landy
Affiliation:
De Montfort University, Leicester
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Expanding the Horizon of Electroacoustic Music Analysis , pp. 58 - 79
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Barthes, Roland (1977) Image, Music, Text. London: Fontana.Google Scholar
Benjamin, W. (2002) The work of art in the age of its technological reproducibility. In Eiland, H. and Jennings, M. W. (eds.) Selected Writings, Volume 3, 1935–1938. Cambridge, MA: Belknap Press of Harvard University Press, 101–33.Google Scholar
Brown, Earle (1966) Lecture given at the Internationalen Ferienkurse für Neue Musik, Darmstadt, 1965. Music of the Avant-Garde, 1, 49–51. (Originally published in Form in der Neuen Musik, Darmstädter Beiträge zur Neuen Musik, X, Mainz: Schott).Google Scholar
Cooke, Deryck (1959) The Language of Music. Oxford University Press.Google Scholar
Cousins, John (2007) Doreen. Subsequently incorporated into the audiovisual work Speak Memory (2007), available at http://www.studio174-nz.com/speak-memory.html.Google Scholar
Dack, John (1999) Karlheinz Stockhausen’s Kontakte and Narrativity. eContact 2.2. http://cec.concordia.ca/econtact/SAN/Dack.htm.Google Scholar
Dhomont, Francis (2001) Phonurgie (1998). On Cycle du son. Montréal: Empreintes Digitales, IMED 0158.Google Scholar
Ferrari, Luc (2009) Presque rien no. 2, ainsi continue la nuit dans ma tête multiple (1977). On L’oeuvre électronique. Paris: Ina-GRM, INA_G 6017/26.Google Scholar
Grabócz, Marta (1997) Survival or renewal? Structural imagination in recent electroacoustic and computer music. Organised Sound, 2, 83–95.CrossRefGoogle Scholar
Guillette, Ray (1999) Homage [sic] à Pollock No. 2 [1991]. On Six Winners. Stockholm: Fylkingen Records, FYCD 1014.Google Scholar
Hill, Peter (ed.) (1995) The Messiaen Companion. London: Faber.Google Scholar
Kendall, Gary S. (2008) What is an event? The EVENT schema, circumstances, metaphor and gist. Proceedings of the 2008 International Computer Music Conference. Belfast. www.garykendall.net/papers/KendallICMC2008.pdf.Google Scholar
Kramer, Jonathan (1978) Moment form in twentieth century music. The Musical Quarterly, 64(2), 177–94.Google Scholar
Kramer, Jonathan (1988) The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York/London: Schirmer.Google Scholar
Kremer, Gidon and Argerich, Martha (1994) Beethoven Violin Sonata in C minor, op. 32 no. 2. Deutsche Grammophon 453743–2.Google Scholar
McAdams, Stephen (1989) Psychological constraints on form-bearing dimensions in music. Contemporary Music Review, 4, 181–98. http://mediatheque.ircam.fr/articles/textes/McAdams89a/.CrossRefGoogle Scholar
McAdams, S. and Saariaho, K. (1985) Qualities and functions of musical timbre. Proceedings of the 1985 Computer Music Conference, San Francisco: International Computer Music Association, 367–74.Google Scholar
Meyer, Leonard B. (1973) Explaining Music: Essays and Explorations. Berkeley: University of California Press.CrossRefGoogle Scholar
Murail, Tristan (2005) The revolution of complex sounds. Contemporary Music Review, 24(2), 121–35.CrossRefGoogle Scholar
Pressnitzer, D. and McAdams, S. (2000) Acoustics, psychoacoustics and spectral music. Contemporary Music Review, 19(2), 33–59.CrossRefGoogle Scholar
Reynolds, Roger (2002) Form and Method: Composing Music. New York/London: Routledge.Google Scholar
Roy, Stéphane (1998) Functional and implicative analysis of Ombres Blanches. Journal of New Music Research, 27(1–2), 165–84.CrossRefGoogle Scholar
Roy, Stéphane (2003) L’analyse des musiques électroacoustiques: modèles et propositions. Paris: L’Harmattan.Google Scholar
Ryan, Marie-Laure (2004) Narrative Across Media: The Languages of Storytelling. Lincoln, NE/London: University of Nebraska Press.Google Scholar
Saariaho, Kaija (1987) Timbre and harmony: Interpolations of timbral structures. Contemporary Music Review, 2(1), 93–133.CrossRefGoogle Scholar
Sachs, Andrew (1978) The Revenge. Radio play first broadcast BBC Radio 4 June.Google Scholar
Schaeffer, Pierre (1966) Traité des objets musicaux. Paris: Seuil.Google Scholar
Smalley, Denis (1986) Spectro-morphology and structuring processes. In Emmerson, S. (ed.) The Language of Electroacoustic Music. London: Macmillan, 61–93.CrossRefGoogle Scholar
Smalley, Denis (1997) Explaining sound shapes. Organised Sound, 2(2), 107–26.CrossRefGoogle Scholar
Smalley, Denis (2007) Space-form and the acousmatic image. Organised Sound, 12(1), 35–58.CrossRefGoogle Scholar
Snyder, Bob (2000) Music and Memory: An Introduction. Cambridge, MA/London: MIT Press.Google Scholar
Stockhausen, Karlheinz (1991) Stockhausen on Music. London/New York: Marion Boyars.Google Scholar
Tenney, James (2006) Meta Hodos and Meta Meta Hodos: A Phenomenology of 20th-Century Musical Materials and an Approach to the Study of Form. Lebanon, NH: Frog Peak Music.Google Scholar
Viñao, Alejandro (1994) Chant d’Ailleurs (1991) for soprano and computer. On Hildegard’s Dream. [Paris]: INA-GRM, INA C 1015.Google Scholar
Wishart, Trevor (1992) Red Bird (1973–7). October Music.Google Scholar
Wishart, Trevor (1994a) Audible Design: A Plain and Easy Introduction to Practical Sound Composition. York: Orpheus The Pantomime.Google Scholar
Wishart, Trevor (1994b) Tongues of Fire. York: Orpheus The Pantomime, CD Maxi-Single, OTP001.Google Scholar
Young, John (2008) Inventing memory: Documentary and imagination in acousmatic music. In Dogantan-Dack, M. (ed.) Recorded Music: Philosophical and Critical Reflections. London: Middlesex University Press, 314–32.Google Scholar
Zanési, Christian (1996) Stop! l’horizon (1983). On Stop! l’horizon. [Paris]: INA-GRM, INA C 2001.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Forming form
  • Edited by Simon Emmerson, De Montfort University, Leicester, Leigh Landy, De Montfort University, Leicester
  • Book: Expanding the Horizon of Electroacoustic Music Analysis
  • Online publication: 05 April 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339633.004
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Forming form
  • Edited by Simon Emmerson, De Montfort University, Leicester, Leigh Landy, De Montfort University, Leicester
  • Book: Expanding the Horizon of Electroacoustic Music Analysis
  • Online publication: 05 April 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339633.004
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Forming form
  • Edited by Simon Emmerson, De Montfort University, Leicester, Leigh Landy, De Montfort University, Leicester
  • Book: Expanding the Horizon of Electroacoustic Music Analysis
  • Online publication: 05 April 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339633.004
Available formats
×