Expanding the Horizon of Electroacoustic Music Analysis

Contents

• Part I . Setting the Scene:
• Introduction Simon Emmerson and Leigh Landy;
• 1. The analysis of electroacoustic music - the differing needs of its genres and categories Simon Emmerson and Leigh Landy;
• Part II . Ideas and Challenges:
• 2. Listening and meaning: how a model of mental layers informs electroacoustic music analysis Gary Kendall;
• 3. Forming form John Young;
• 4. Interactive and generative music: a quagmire for the musical analyst Michael Young;
• 5. Some ideas concerning the relationship between form and texture Raul Minsburg;
• Part III . Harnessing New Forces:
• 6. Exploiting computational paradigms for electroacoustic music analysis Tae Hong Park;
• 7. OREMA - an analytical community Michael Gatt;
• 8. EAnalysis: developing a sound-based music analytical tool Pierre Couprie;
• Part IV . Analyses of Key Works:
• 9. Trevor Wishart's Children's Stories II from Encounters in the Republic of Heaven: an analysis for children of a sample-based composition Leigh Landy;
• 10. Analysis of Foil by Autechre (from Amber (1994)) Ben Ramsay;
• 11. Temporal recurrence in Andrew Lewis's Penmon Point Ambrose Seddon;
• 12. Michel Waisvisz: No Backup/Hyper Instruments John Ferguson;
• 13. Analysing sound art: Douglas Henderson's Fadensonnen (2009) Kersten Glandien;
• 14. Analysing the identifiable: cultural borrowing in Diana Salazar's La voz del fuelle Manuella Blackburn;
• 15. Kireek 2011 championship routine analysis Sophy Smith;
• 16. The analysis of live and interactive electroacoustic music: Hans Tutschku - Zellen-Linien (2007) Simon Emmerson;
• 17. Audio only computer games - Papa Sangre Andrew Hugill and Panos Amelides;
• 18. Some questions around listening: Vancouver Soundscape Revisited by Claude Schryer Katharine Norman.