The Relation of Language to Materials

Emmerson, Simon

doi:10.1007/978-1-349-18492-7_3

Cited by 60 publications

(41 citation statements)

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“…Pierre Schaeffer (1966) laid a foundation for a typology of sound that was later refined and developed into spectromorphology by, e.g., Emmerson (1986), Smalley (1986Smalley ( , 1992 and DeLalande (1998). It was important to Schaeffer that sound-objects should be valued for their intrinsic qualities and detached from their physical source.…”

Section: Sound-based Compositionmentioning

confidence: 98%

Synthetic activity: Semiosis, conceptualizations and meaning-making in music composition

Falthin

2014

Journal of Music, Technology &Amp; Education

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This article is about composition learning of two students in a music programme in upper secondary school with a special regard to how they develop conceptual structures within the musical form of expression and understanding. Semiotics, spectromorphology and cultural historical theory are engaged to discuss the empirical findings that are collected through observation and interview. The compositional task in the study regarded sound-based composition within the field of electroacoustic music, more specifically applying additive synthesis to make raw material for composition, preparatory exercises and finally compositions. Musical meaningmaking and compositional creativity were triggered by the encounter of newly learned concepts with internalized and familiar musical thinking. The learning process could be understood in terms of a concept development process (CDP) in language-based learning.

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Section: Sound-based Compositionmentioning

confidence: 98%

Synthetic activity: Semiosis, conceptualizations and meaning-making in music composition

Falthin

2014

Journal of Music, Technology &Amp; Education

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“…the spectro-and spatiomorphological definition, Smalley 1997; the structural grid, Roy 2003, Emmerson 1986; the perceptual categorisation, Landy 1994) in order to use similar musical descriptors. However, a detailed computational analysis of sonic elements does not usually allow for inspired or audacious comparisons.…”

Section: Methodsmentioning

confidence: 99%

A Cross-genre Study of the (Ec)Static Perspective of Today’s Music

Wanke

2015

Org. Sound

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This article explores a particular perspective, shared across various contemporary musical currents, that focuses on sound itself as a complex entity. Through the analysis of certain fundamental musical elements and sonic characteristics, this study develops a new method for comparing different genres characterised by a similar approach to sound. Using the benefits of audio, spectra and score examinations, this strategy is applied to post-spectralist and minimalist compositions (e.g. G. F. Haas, B. Lang, R. Nova, G. Verrando), as well as glitch, electronic and basic-channel style pieces (Pan Sonic, R. Ikeda, Raime). Nine musical attributes are identified that help trace a new outlook on various currents in today’s music. The study’s contribution lies in its revealing of a shared musical perspective between different artistic practices, and in the establishment of new connections between pieces that belong to unrelated contexts.

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“…Drawing from Emmerson's definition, we may not consider this a reference to something 'not usually associated with musical material' (Emmerson 1986). Perhaps, then, except in a limited way, the one Schaefferian mode from which Lachenmann's music does not benefit is comprendre -connotative listening.…”

Section: The Instrumental Studio and Musique Concrète Instrumentalementioning

confidence: 98%

Mimetic Instrumental Resynthesis

O'callaghan¹

2015

Org. Sound

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This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques towards instrumental imitations of environmental and extra-musical sounds. The article also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the article raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.

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The Relation of Language to Materials

Cited by 60 publications

References 0 publications

Synthetic activity: Semiosis, conceptualizations and meaning-making in music composition

Synthetic activity: Semiosis, conceptualizations and meaning-making in music composition

A Cross-genre Study of the (Ec)Static Perspective of Today’s Music

Mimetic Instrumental Resynthesis

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