![]() This research shows how a coherent aesthetic framework favours the creation of new keys of interpretations, provides listeners with new tools of comparison and assessment, and empowers them to focus on the structural and intrinsic aspects of sonic material. The article addresses the difficulties in conveying our perception of these styles of music and proposes three different modes of listening that are employed in perceiving certain works from genres within experimental music. This study uses perceptual surveys to reflect on the ability of participants to classify audio samples, express selection criteria, recognize common sonic characteristics, and go beyond existing genre-specific practices. aesthetic outlook based on considering sound as a particular understanding of material substance that can be seen to hold for various pieces from quite distant genres of experimental music. All excerpts presented in the survey, it is proposed, belong to a common. Trained and untrained listeners were given a survey, which asked them to evaluate short musical excerpts ranging from post-spectral and contemporary compositions to glitch and electronic music. This paper enquires into the ways in which listeners perceive different pieces of music from a range of current experimental genres. The next step in research is to seek to display further subtleties in the organisation of time, eg. Calculating its reciprocal, inter-onset rate, can generate a graph that provides some measure of the varying activity within an electroacoustic work. The paper concludes that determining inter-onset time can give us a plot that is useful in showing the main sections within a work. This paper combines a number of time-related tools from the program Sonic Visualiser to create Inter-onset Time and Inter-onset Rate plots for Unsound Objects. The aim of the current study is to seek an alternative method to the use of “spectral irregularity” for measuring sonic activity in electroacoustic music. provides a brief outline of the SIAM Analysis Framework, describes a previous analysis of Unsound Objects using this method, and then extends the analysis to seek a measure for “sonic activity” as an indicator of periods of tension and release within the work. This paper seeks to extend the author’s SIAM Framework for the analysis of electroacoustic music by posing the following question: What propels an electroacoustic work along from moment to moment, section to section, or scene to scene, given the absence of harmonic cadences associated with traditional tonal music? Taking as its subject matter, Jonty Harrison’s piece Unsound Objects, the paper. Likewise, the full score and mp3 audio of the piece is provided in the annexes with the aim of listening to and illustrating the musical possibilities of Csound. As a case study, a timbrical analysis by means of Sonic Visualiser is provided for the piece “(In)harmonic Study”, an original composition that explores diverse sound synthesis models in a musical structure that alternates between states of harmonicity and inharmonicity. The main goal of this article is to present aspects that might be useful for the teaching of electronic composition by means of Csound. In spite of its technical and musical potential for the creation of electronic music, Csound is a software that currently has a rather limited spread in composition classrooms. ABSTRACT Csound is a programming language that facilitates the composition of electronic music by means of a coding interface in the software CsoundQt. Asimismo, en los anexos se facilita la partitura completa y el audio en formato mp3 de la pieza con la finalidad de facilitar un estudio más detallado de las posibilidades musicales de Csound. Como estudio de caso, se proporciona un análisis tímbrico con Sonic Visualiser de "(In)harmonic Study", una breve composición original que explora diversos modelos de síntesis de sonido en una estructura musical que alterna estados de armonicidad e inarmonicidad. El objetivo de este artículo es presentar aspectos que puedan resultar de utilidad para la docencia de la composición electrónica mediante Csound. A pesar de su potencial técnico y musical para la creación de música electrónica, CsoundQt es una aplicación que actualmente cuenta con una difusión algo limitada en las aulas de composición. Csound es un lenguaje de programación que facilita la composición de música electrónica a través de una interfaz de código mediante el programa CsoundQt. Csound como herramienta didáctica para una introducción a la composición eletrónica: Estudio de caso de una miniatura musical "(In)harmonic Study".
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