Graphical representation: an analytical and publication tool for electroacoustic music

Couprie, Pierre

doi:10.1017/s1355771804000147

Cited by 9 publications

(9 citation statements)

References 3 publications

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“…This is consistent with the representations of compression and rarefaction in longitudinal waves (see Fig. 3) [23], as opposed to more familiar models that use two or more axes to convey tone [24][25][26][27]. Creative applications of these transmediatic principles build upon foundational work in both mechanical and digital transmediation.…”

Section: Common Patterns: Tonesupporting

confidence: 78%

Raw Harmonies: Transmediation through Raw Data

Peña

James

2020

Leonardo

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In this paper, the authors present the initial findings from explorations on transformation patterns of data in raw format when crossing or transmediating directly (i.e. unaffected by any other form of codification) between audio and visual media. These patterns have allowed the authors to engage in the production of transmediatic artifacts with some degree of control and agency, facilitating purposeful applications of transmediation. The products of such practices will enable a form of literacy, an aesthetic means to identify in visual media artifacts those patterns that could transmediate into useful or appealing sonic artifacts and vice versa.

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Section: Common Patterns: Tonesupporting

confidence: 78%

Raw Harmonies: Transmediation through Raw Data

Peña

James

2020

Leonardo

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“…A range of software is available to create animated notations, and use animation to enrich analysis. Pierre Couprie's 'iAnalyse' software provides animated analysis tools that enable slideshow, temporal and dynamic representations of audio to enhance the capacity to analyse recordings and electroacoustic music (Couprie 2004(Couprie , 2019. Dominique Fober's 'INScore' software provides an environment for the design of interactive, augmented music scores that include a range of graphic objects in addition to symbolic music notation, including video and sonic representations (Fober, Gouilloux, Orlarey and Letz 2015).…”

Section: What Do Animated Notations Do?mentioning

confidence: 99%

The Future is Graphic: Animated notation for contemporary practice

Hope

2020

Org. Sound

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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

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“…All Round Me was composed for the choreographer and dancer Andrea Beckham (Sharir Dance Company) 9 and is structured in six movements entitled (1) All Round Me, (2) Cool Mist, (3) Sudden Rain, (4) Tree Colors Darkening, (5) The Monastery and (6) A Bonging of Bells and were inspired on the ancient poem Sudden Rain by Ni Chia-Ching (Pinkston 2018) 10 . The total time of the piece is 14 minutes and 40 seconds (Pinkston 2005).…”

Section: -Analysis Of All Round Me (1997) By Russell Pinkstonmentioning

confidence: 99%

Readings of a Work: a musical analysis of All Round Me by Russell Pinkston

Gumboski

Zomer

Moreira

2019

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In this paper, we analyze the electroacoustic composition All Round Me by Russell Pinkston. We present three main analytical aspects: (1) identification and classification of materials of each section based on Dennis Smalley’s theory of spectro-morphology and Michel Chion’s metaphorical description of sound objects; (2) representation of materials through graphical transcriptions to illustrate the structuring and transformation of these materials throughout the work; (3) narrative description based on the idea of representation of spirit-manifestations. Sonographic and spectral analyses were used as support for the spectro-morphological identification of sound objects. We sought to demonstrate that the listener of All Round Me is an active participant while being a subject of discourse, confronting throughout the aesthetic experience of the composition with the tension between life and death represented by the states of closeness and remoteness from (sound) spirit-manifestations.

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Graphical representation: an analytical and publication tool for electroacoustic music

Abstract: When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication.

Cited by 9 publications

References 3 publications

Raw Harmonies: Transmediation through Raw Data

Raw Harmonies: Transmediation through Raw Data

The Future is Graphic: Animated notation for contemporary practice

Readings of a Work: a musical analysis of All Round Me by Russell Pinkston

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