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PEABODY COMPUTER MUSIC DEPARTMENT
History of Electroacoustic Music (350.840)
Dr. Geoffrey Wright
April 2, 2003
SOME ANALYSIS GUIDELINES FOR ELECTROACOUSTIC MUSIC
Everything we listen to in this course is music, although it might be of widely divergent genres, styles,
aesthetics, and purpose.
To analyze and classify what we hear, use a combination of analytical techniques for conventional musical
analysis plus new techniques we will develop as needed.
Electroacoustic music's new approaches to composition and sound generation require additional and
fresh analytical approaches. This is especially true of works which use only a partial score, no score at all,
or rely on only on sound and multimedia.
Refer to other resources on LaRue, Meyer, and analysis problems in ethnomusicology. Look for FORM
bearing elements and COMPOSITIONAL DETERMINANTS.
The following are some suggested listening techniques for working on music without a score. While each
point is not applicable to every composition, go though each point methodically in a process of elimination.
1.
Stylistic Considerations
a.
Composition Background of the Composer
1)
Composition teacher
2)
Schools attended
3)
Major Compositional Influences
b.
Studio where created
1)
Stylistic consistency within studio?
2)
How similar/dissimilar from other composers there.
c.
Stylistic concerns of the genre
1)
Comparison to other pieces that utilize the same techniques.
2)
Comparison to other pieces that utilize the same instrumentation or equipment.
d.
Identification of stylistic landmarks in the composition.
1.
Are there structures, forms, motives or any other elements within the composition
that are descriptive of an established style?
2.
Technology and Equipment
a.
Equipment
1)
List equipment used.
2)
How might this equipment have influenced the compositional plan?
3.
Critical Analysis
a.
Overall Form
1)
What determines the form of the piece?
2)
What are major sections within the movements?
3)
In general, how is time organized?
b.
Structures and major sections
1)
What determines the major sections?
2)
Is rhythm organized on this level?
3)
How do the structures within the major sections evolve over time?
c.
Building Blocks
1)
Is the piece based on a motive, row or another method of organization?
2)
Is there a method for organization of rhythm?
3)
How do these microstructures evolve over time?
4)
Are these building blocks used throughout the piece (movements and complete
piece)?
5)
If there are changes in the micro level, explain why this might have occurred.
4.
Charting Your Findings
Some choices...
a.
If applicable, chart macrostructure over time (in the most logical time unit). Make sure this
includes major sections and major landmarks.
b.
Make a chart of Frequency over Time in order to indicate registral or spectral evolution.
c.
Make a chart of Pitch over Time. You will have to create an icon for each type of sound
and make a separate timbral description of the icon. While this analysis cannot include
each sound, a general overall description of the piece should be evident.
d.
Based on the elements that communicate the composition, create an analysis that is
descriptive of these elements.