On style in electroacoustic music

Hugill, A (2016) 'On style in electroacoustic music.' Organised Sound, 21 (1). pp. 4-14. ISSN 1355-7718

Onstyle.pdf - Accepted Version
Repository Terms Apply.

Download (825kB) | Preview
Official URL: http://dx.doi.org/10.1017/S1355771815000333


This article argues for the habilitation of a concept of style in electroacoustic music. It surveys the reasons for the neglect of style, looking in particular at the modernist embedding of electroacoustic theory and the consequences of postmodern genre formations. It considers the extent to which academic understanding of the materiality of music has moved from the analysis of sound to the analysis of media. It offers a critique of notions of sonic inclusivity and the differentiation of electroacoustic music from instrumental music. It emphasises the importance of comparative analysis and understanding the elements of style in electroacoustic music. It critically examines a number of techniques and frameworks for stylistic analysis. It concludes by encouraging the electroacoustic music community to engage more fully with notions of style.

Item Type: Article
Subjects: M Music and Books on Music > M Music
Divisions: Bath School of Music & Performing Arts
Identification Number: https://doi.org/10.1017/S1355771815000333
Date Deposited: 12 Jan 2016 10:59
Last Modified: 19 Feb 2020 11:53
References: Bregman, A. S. 1999. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press. Camilleri, L. 1993. Electroacoustic Music: Analysis and Listening Processes. Sonus Contemporary Music Materials 1: 1–13. Casey, M., Veltkamp, R., Goto, M., Leman, M., Rhodes, C. and Slaney, M. 2008. Content-based Music Information Retrieval: Current Directions and Future Challenges. Proceedings of the IEEE 96(4): 668–96. The Chemical Brothers 1999. Surrender. Virgin Records XDUSTCD4. Chion, M. 1994. Audio-vision. Trans. Claudia Gorbman. New York: Columbia University Press. Collins, N. 2010. Introduction to Computer Music. Chichester: John Wiley. Couprie, P. 2014. EAnalysis. http://logiciels.pierrecouprie.fr/?page_id=402 (accessed 19 October 2015). Cusick, S. G. 1997. Response to Round Table 3. In D. Greer (ed.) Musicology and Sister Discplines: Past, Present, Future. Oxford: Oxford University Press. Delalande, F. 1993. Analyser le style en musique électroacoustique; Approximation et pluralité en analyse comparative. Analyse musicale 32: 28–33. Delalande, F. 1998. Music Analysis and Reception Behaviours: Sommeil by Pierre Henry. Journal of New Music Research 27(1–2): 13–66. Downie, J. S., Ehmann, A. F., Bay, M. and Cameron Jones, M. 2010. The Music Information Retrieval Evaluation eXchange: Some Observations and Insights. Advances in Music Information Retrieval 274: 93–115 http://bit.ly/KpM5u5 (accessed 19 October 2015). Emmerson, S. 1982. Analysis and the Compositon of Electro-Acoustic Music. PhD thesis. City University, London. Emmerson, S. (ed.) 1986. The Language of Electroacoustic Music. Basingstoke: Macmillan. Hugill, A. 2012. The Digital Musician, 2nd edn. New York: Routledge. Jehan, T. 2005. Creating Music by Listening. PhD thesis. MIT. http://web.media.mit.edu/~tristan/phd/dissertation/index.html (accessed 16 October 2015). Kendall, G. 2014. The Feeling Blend: Feeling and Emotion in Electroacoustic Art. Organised Sound 19(2): 192–202. Kendall, G. 2006. Juxtaposition and Non-Motion: Varèse Bridges Modernism and Electroacoustic Music. Organised Sound 11(2): 159-171. Landy, L. 1999. Reviewing the Musicology of Electroacoustic Music: A Plea for Greater Triangulation. Organised Sound 4(1): 61–70. Landy, L. 2007. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press. Le Corbusier 1954. The Modulor. Trans P. de Francia and A. Bostock. Cambridge, MA: Harvard University Press. Le Corbusier 1956. Preface to Paul Damaz, Art in European Architecture: Synthèse des Arts [New York: Rheingold: viii-ix. Le Corbusier 1958. Modulor 2. Trans. P. de Francia and A. Bostock. Cambridge, MA: MIT Press. Le Corbusier and Ozenfant, A. 2000. Purism. Trans. R. L. Herbert. In R. L. Herbert (ed.) Modern Artists on Art. Mineola, NY: Dover Books. Lorrain, D. 1980. Analyse de la bande magnetique de l’œuvre de Jean-Claude Risset Inharmonique. Rapports IRCAM 26/80. Manning, P. 2013. Electronic and Computer Music. Oxford: Oxford University Press. Mattis, O. 2006. From Bebop to Poo-wip: Jazz Influences in Varèse’s Poème électronique. In F. Meyer and H. Zimmerman (ed.) Edgard Varèse: Composer, Sound Sculptor, Visionary. Woodbridge: Boydell Press. McAdams, S. 1996. Audition: Cognitive Psychology of Music. In R. Llinas and P. Churchland (eds.) The Mind-Brain Continuum. Cambridge, MA: MIT Press. McAdams, S. 2015. Perception et cognition de la musique: Les conférences Alphonse Dupront. Paris: Vrin. McClary, S. 1994. Constructions of Subjectivity in Schubert’s Music. In Brett, P., Wood, E. and Thomas, G. C. eds.) Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge. Meelberg, V. 2009. Sonic Strokes and Musical Gestures: The Difference between Musical Affect and Musical Emotion. In J. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg and P.-S. Eerola (eds.) Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009). Jyväskylä: University of Jyväskylä. Monelle, R. 1992. Linguistics and Semiotics in Music. New York: Routledge. Nattiez, J.-J. 1990. Music and Discourse: Toward a Semiology of Music. Princeton: Princeton University Press. Osmond-Smith, D. 1989. Between Music and Language: A View from the Bridge. Contemporary Music Review 4: 89–95. Park, T. H., Li, Z. and Wu, W. 2009. EASY DOES IT: The Electro-Acoustic Music Analysis Toolbox. 10th International Society for Music Information Retrieval Conference (ISMIR). Kobe, Japan, 26–30 October. Radford, L. 2014. I am Sitting on a Fence. eContact! 15:4. http://econtact.ca/15_4/radford_soundimage.html (accessed 18 November 2015). Ramsay, B. 2012. Analysis of ‘Internal Clock’ by Monolake. http://researchspace.bathspa.ac.uk/6651/ (accessed 15 December 2015). Ratcliffe, R. 2013. Analytical Précis of Chime by Orbital: Towards an Analysis of Electronic Dance Music. http://www.robertratcliffe.com/writing (accessed 15 Decembert 2015). Reed, T. 2008. Planes of Discourse in Fixed Media Electroacoustic Music: A Comparative Study and Application of Analytical Approaches. Ph.D. thesis. University of Florida. Roy, S. 1998. Functional and Implicative Analysis of Ombres Blanches. Journal of New Music Research 27: 166–92. Schaeffer, P. 1966. Traité des objets musicaux. Paris: Éditions du Seuil. Schaeffer, P. 2004. Acousmatics. In C. Cox and D. Warner (eds.) Audio Culture: Readings in Modern Music. New York: Continuum. Schuller, G. 1965. Conversations with Varèse. Perspectives of New Music 3(2): 32–7. Smalley, D. 1997. Spectromorphology: Explaining Sound-shapes. Organised Sound 2(2): 107–26. Snarkmarket 2007. Musical Genre Name Generator. http://snarkmarket.com/blog/snarkives/music/musical_genre_name_generator (accessed 10 June 2015). Thistlethwaite, N. and Vebber, G. 1998. The Cambridge Companion to the Organ. Cambridge: Cambridge University Press. Tilly, C. 1984. Big Structures, Large Processes, Huge Comparisons. New York: Russell Sage Foundation. Truax, B. 2008. Soundscape Composition as Global Music: Electroacoustic Music as Soundscape. Organised Sound 13(2): 103–9. Van Hulle, D. 2015. The New Cambridge Companion to Samuel Beckett. Cambridge: Cambridge University Press. Varèse, L. 1972. Varèse: A Looking-Glass Diary. New York: W. W. Norton. Whitman, B. and Smaragdis, P. 2002. Combining Musical and Cultural Features for Intelligent Style Detection. Proceedings of the International Conference on Music Information Retrieval. Paris, France, 13–17 October. Wiggins, G. A. 2007. Models of Musical Similarity. Musicae Scientiae, Discussion Forum 4A: 315–38. Wishart, T. 2000. Computer Sound Transformation: A Personal Perspective from the UK. http://www.trevorwishart.co.uk/transformation.html (accessed 10 June 2015). Wishart, T. 2008. Globally Speaking. Organised Sound 13(2): 137–40. Young, J. 2005. Sound in Structure: Applying Spectromorphological Concepts. Electroacoustic Music Studies Network Conference. McGill University, Montreal. Zattra, L. 2003. Science et technologie comme sources d’inspiration au CSC de Padoue et à l’IRCAM de Paris. Ph.D. thesis. Paris IV-Sorbonne–Trento University.
Request a change to this item or report an issue Request a change to this item or report an issue
Update item (repository staff only) Update item (repository staff only)