Musiques électroacoustiques

Abstract

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Listening to Contemporary Art Music: A Morphodynamic Model of Cognition

“…I am not suggesting that the emotional response to sound-based music does not exist, but rather that the best way to understand how we experience this music is phenomenological, that is by looking at the mechanisms of perception we use in relation to sounds from the wider physical context. It is not by chance that most studies on the perception of current styles of experimental music draw on phenomenological perspectives and Gestalt theories (Koffka, 1935(Koffka, /1999Merleau-Ponty, 1945/2003Varela et al, 1991), elaborating on several disciplines within the cognitive sciences, the philosophy of art, and ecological theory (Solomos, 2023;Clarke, 2005;Gibson, 1979). Starting from these viewpoints, scholars -mostly in sound artclaim that an intrinsic capacity of sound objects is to allow sound to be perceived "in itself".…”

“…In analyzing pieces from this cross-genre set of music practices, I employed general categories outlining morphologies and evolutions through which musical episodes may be described and compared (Wanke, 2015;. Several methods (Smalley, 1997;Giomi & Ligabue, 1998;Roy, 2003;Emmerson & Landy, 2016;Delalande, 2013) allow for a sort of aural and morphological analysis which favours the identification of correspondences between the pieces in the use of spectrotemporal sonic details (e.g. glissandi, microtonality) and the arrangement of musical figures (e.g.…”

Analytical Approaches to Electroacoustic Music Improvisation

“…After making numerous transcriptions and experimenting with widely differing techniques and methods, I continued my research work into the subject of morphology and its place in the construction of structures at all levels, from the microstructures present in musical objects to the form. At the time, major analysis techniques were based on segmentation into unitssound objects (Schaeffer 1966), soundimages (Bayle 1993), spectromorphologies (Smalley 1997), functions (Roy 2003), temporal semiotic units (Rix and Formosa 2008), time-fields (Thoresen and Hedman 2015) among othersand the use of classification methods by similarity, by origin in the creative processas in paradigmatic or generative analysisor by function in the construction of form. One of the dominant characteristics in electroacoustic creation since the 1970s is the use of sound materials that resist musical analysis because of their duration, the imprecision of their temporal and spectral borders, their continuous evolution or the virtuosity of their constitutive morphologies.…”