Add to ORKG1. INTRODUCTION to be able to separate them for discursive purposes – we cannot in the same breath describe what is shaped The art of music is no longer limited to the sounding and the shapes themselves. The term may be rather models of instruments and voices. Electroacousti
Previous research by the author has involved the investigation of sound shapes produced by the multi...
The sound of a musical instrument can be represented either in time domain (envelope, waveform) or i...
Composers have been using sound classification as a tool for musical structure since the beginning o...
Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of ...
This paper departs from critical discussion of some issues emerging from the concepts and terminolog...
Based on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art mu...
Based on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art mu...
Sound is integral to how we experience the world, in the form of noise as well as music. But what is...
This paper presents two analytical categories which were applied to works included in my portfolio o...
This paper addresses spectralist approaches to composition in acousmatic music. As Murail (2005) as...
Article is dedicated to the morphological and audiative interconnectedness of sound: equivalence in ...
What we mean here by the analysis of electroacoustic music is a morphological description. It consis...
Terms to identify tools, objects and structures are common to all human endeavour. They help us to c...
This thesis investigates the relationship between the varying complexities of spectromorphology, spa...
There is a tendency in electroacoustic music analysis to focus on the description of sound morpholog...
Previous research by the author has involved the investigation of sound shapes produced by the multi...
The sound of a musical instrument can be represented either in time domain (envelope, waveform) or i...
Composers have been using sound classification as a tool for musical structure since the beginning o...
Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of ...
This paper departs from critical discussion of some issues emerging from the concepts and terminolog...
Based on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art mu...
Based on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art mu...
Sound is integral to how we experience the world, in the form of noise as well as music. But what is...
This paper presents two analytical categories which were applied to works included in my portfolio o...
This paper addresses spectralist approaches to composition in acousmatic music. As Murail (2005) as...
Article is dedicated to the morphological and audiative interconnectedness of sound: equivalence in ...
What we mean here by the analysis of electroacoustic music is a morphological description. It consis...
Terms to identify tools, objects and structures are common to all human endeavour. They help us to c...
This thesis investigates the relationship between the varying complexities of spectromorphology, spa...
There is a tendency in electroacoustic music analysis to focus on the description of sound morpholog...
Previous research by the author has involved the investigation of sound shapes produced by the multi...
The sound of a musical instrument can be represented either in time domain (envelope, waveform) or i...
Composers have been using sound classification as a tool for musical structure since the beginning o...