Relevant bibliographies by topics / Electroacoustic music

Academic literature on the topic 'Electroacoustic music'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Electroacoustic music"

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YONG, KERRY. "Electroacoustic adaptation as a mode of survival: arranging Giacinto Scelsi's Aitsi pour piano amplifée (1974) for piano and computer." Organised Sound 11, no. 3 (November 17, 2006): 243–54. http://dx.doi.org/10.1017/s1355771806001567.

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Arrangement has always played an essential part of transmitting, preserving and disseminating works in the musical practice of both ‘high art’ and popular music. However, at present it is rarely practised in electroacoustic music, which can partly be explained by the nature of electronic technology and current thinking about authenticity. Despite this context, there are benefits to performance opportunities through the diversity created by arrangement; therefore, the process of adapting the electroacoustics of Scelsi's Aitsi is explored. The work offers this opportunity, since it lacks precision in its musical documentation, has received a number of quite different renditions and shows ontological malleability as it exists in another form, Scelsi's Fifth String Quartet. The new electroacoustic adaptation exploits Max/MSP software to extend the electroacoustic treatment of the piano beyond previous interpretations, whilst attempting to remain consistent with the aesthetic of the work. The article aims to encourage the composition and adaptations of works that afford performers interpretative licence with the electroacoustics in order to promote the distinctive and evanescent nature of mixed acoustic-electroacoustic works in concert performance, and encourage its continuation through an evolving performing tradition.
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Bohn, James, and Roger Reynolds. "ElectroAcoustic Music." Computer Music Journal 20, no. 3 (1996): 86. http://dx.doi.org/10.2307/3680832.

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Mikawa, Makoto. "FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL'S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE." Tempo 68, no. 270 (September 4, 2014): 57–67. http://dx.doi.org/10.1017/s0040298214000369.

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AbstractIndifferent to the aesthetic dispute between the Parisian musique concrète and the Cologne elektronische Musik schools in the mid twentieth century, Mauricio Kagel took a synthetic approach to his second electroacoustic composition Antithese by combining these compositional principles. His aim was not to offer an eclectic solution to the controversy, but to express his musico-political and musico-social commentary. A close observation of Kagel's sketches, archived at the Paul Sacher Foundation, suggests that his choice of compositional materials and painstaking structural plan were shaped by his critical view of the politics of electroacoustic music.
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Gatt, Michael. "The OREMA Project: A call for the liberation of sound analysis." Organised Sound 20, no. 3 (November 16, 2015): 316–22. http://dx.doi.org/10.1017/s1355771815000242.

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Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.
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Hugill, Andrew. "On Style in Electroacoustic Music." Organised Sound 21, no. 1 (March 3, 2016): 4–14. http://dx.doi.org/10.1017/s1355771815000333.

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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.
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BOSSIS, BRUNO. "The Analysis of Electroacoustic Music: from sources to invariants." Organised Sound 11, no. 2 (August 2006): 101–12. http://dx.doi.org/10.1017/s135577180600135x.

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The musicologist is confronted with many situations during the analysis of electroacoustic music, whether on support media, mixed, or real-time. Musical genres and styles vary greatly, and the collection of electronic musical instruments has also proven to be very heterogeneous. The intrinsic characteristics of the electroacoustic parts and their scoring create serious limitations. Furthermore, many sources remain inaccessible or are already lost. Thus the preoccupation with documentary sources related to the acts of creation, interpretation, and technological context becomes more and more pressing. It is now essential to formulate a synthetic vision of this music, which has existed for half a century, and to pursue the search for invariants. This work must be based on a rigorous methodology that has yet to be developed. More generally speaking, the goal is to establish the terms and conditions of a systematic musicology of electroacoustics.
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Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.

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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.
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Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (November 3, 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
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Martin, Jeffrey. "Tradition and Transformation: Addressing the gap between electroacoustic music and the middle and secondary school curriculum." Organised Sound 18, no. 2 (July 11, 2013): 101–7. http://dx.doi.org/10.1017/s1355771813000022.

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Given the growing acceptance of information and communication technology (ICT) as integral to today's middle and secondary school classrooms, electroacoustic music would seem on the surface to be a central feature of the music curriculum. However, models that approximate actual practices of electroacoustic music in the classroom are rare, with many schools focusing squarely on ICT, either as tools to facilitate traditional musical contexts or to explore innovative uses of that technology. Also, with the exception of some notable recent developments, there are few initiatives to bring middle and secondary students, or their teachers, into contact with the practices of electroacoustic music communities. The purpose of this article is to explore this problematic gap between the education and electroacoustic music communities in an attempt to identify some of the issues that lie at the foundation of an effective curriculum. The position taken is that these foundational matters need to be addressed prior to any discussion of ‘best practices’ for middle and secondary electroacoustic music education.
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Kaiser, Karl, and Academie Bourges. "Aesthetics and Electroacoustic Music." Computer Music Journal 21, no. 3 (1997): 98. http://dx.doi.org/10.2307/3681019.

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Dissertations / Theses on the topic "Electroacoustic music"

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Velloso, Rodrigo Cicchelli. "Electroacoustic music composition." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338057.

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Loufopoulos, Apostolos. "Nature in electroacoustic music." Thesis, City University London, 2004. http://openaccess.city.ac.uk/8441/.

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This thesis accompanies the six submitted works, focusing on the utilisation of nature as a compositional factor, and its appreciation in the context of electroacoustic music. Apart from providing a separate discussion of each work. the thesis introduces a theoretical framework, where nature is defined in different types and sources, and where the idea of `naturalness' within a musical context is approached through an examination of certain sound-behaviours. Reference is made to compositional methods used in the six works.
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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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Field, Ambrose Edmund. "Electroacoustic composition." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.

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The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in developing a coherent compositional approach for the integration of natural sounds into complex musical hierarchies. Simulated sonic environments are identified as being effective in this aim, as it is possible for the composer to exert considerable control over the development of their individual sounding elements. The characteristics that define simulation, and the interaction between sound sources and spaces were analysed. The notion of context bonding was introduced, which aims to link Smalley's concept of surrogacy' to a sound's extrinsic connotations. Discovery strategy is a practical methodology that was developed whilst composing the creative work that accompanies this dissertation. By using a set of structural devices called steering processes, it aims to assist first-time listeners in decoding the structural characteristics of a work. Steering processes couple simple and easily recognisable rhetorical codes of communication to a clear underlying sub-structure. Discovery strategy techniques do not attempt to simplify works for easy listening. Moreover, they allow the potential for more listeners to access the inner structural details of a piece. As the creative folio demonstrates, this can result in a musical surface that is highly distinctive and energetic.
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Woolley, Jason Stancey. "Electroacoustic composition portfolio : Energy, movement and direction in electroacoustic music." Thesis, Manchester Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534241.

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Practice-as-research is a mixed mode approach to PhD study, and this complementary writing discusses the conceptual and critical topics engaged with during the practical realisation of an Electroacoustic composition portfolio. The general research aim was to explore and develop personal Electroacoustic compositional technique, with the specific objective of exploring approaches to the creation of sound materials and structures that might suggest to the listener Energy, Movement and Direction within the context of Acousmatic Composition. To aid the critical contextuaIisation of the study, the documentation begins with a literature review, which gives a broad overview of current theoretical knowledge on the topic. The second chapter is concerned with the selected methodologies of the study, and whilst including some detail of the compositional processes, it also attempts critically to contextualise these with further discussion of pertinent theoretical issues. The final chapter presents an analysis of two Acousmatic pieces, one of which, What Lie Within, is from the accompanying portfolio, the other is Natasha Barrett's ... fetters ... (2005). The third chapter analysis includes the use of Spectrograms and proposes an expansion of Cogan's Theory of Oppositions, and in doing so, attempts to make constructive comparisons on how the musical structures of each piece change over time. This study found that the portfolio title, specifically, Energy, Movement and Direction, could be explored not just as framework for development of indexical sound signs, but could also serve the compositional process as a structural and conceptual catalyst. The study also found that engagement with critical thinking such as that found in the semiological frameworks of Peirce. Saussure and Derrida assisted the compositional process. Using Peirce's tripartite of signification to explain how sound might act as a sign in the cognition of the listener was useful in fonningstrategic approaches to the development of the compositions. The analysis of musical structure over time by applying a development of Cogan's Theory of Oppositions ( 1984) to the aural and abstracted graphical traces of two Acousmatic compositions proved useful in that it helped inform the development of subsequent compositions within the portfolio
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Bergsland, Andreas. "Experiencing Voices in Electroacoustic Music." Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2010. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-12152.

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This dissertation presents a framework for describing and understanding the experience of voices in acousmatic electroacoustic music and related genres. The framework is developed with a phenomenological basis, where the author’s own listening experience has been the main object of study. One component of the framework has been to group aspects that potentially can be attended to into experiential domains based on some common feature, relationship or function. Four vocal experiential domains related to the voice are presented along with three domains not directly related to the voice. For each of these domains, a set of concepts are introduced allowing for qualification and description of features of the experience. The second component of the framework, the maximal-minimal model, is partly described through these domains. This model presents maximal and minimal voice as loosely defined poles constituting end points on a continuum on which experienced voices can be localized. Here, maximal voice, which parallels the informative and clearly articulated speaking voice dominant in the radio medium, is described as the converging fulfillment of seven premises. These premises are seen as partly interconnected conditions related to particular aspects or features of the experience of voice. At the other end of the continuum, minimal voice is defined as a boundary zone between voice and non-voice, a zone which is related to the negative fulfilment of the seven premises. A number of factors are presented that potentially can affect an evaluation of experiences according to the premises, along with musical excerpts that exemplifies different evaluation categories along the continuum. Finally, the two frameworks are applied in an evaluation and description of the author’s experience of Paul Lansky’s Six Fantasies on a Poem by Thomas Campion .
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Sefchovich, Jorge Rodrigo Sigal. "Compositional strategies in electroacoustic music." Thesis, City University London, 2003. http://openaccess.city.ac.uk/7649/.

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This thesis accompanies the five electroacoustic pieces of the portfolio and aims to discuss compositional strategies. The pieces were designed with the intention of exploring ways of creating relationships between musical materials of differing natures. Structuring methods are outlined using examples from two acousmatic and three mixed works (for solo instrument and electroacoustic sounds). Analyses from a macro- and micro-perspective aid in describing the principal elements of musical discourse and the personal methods of achieving musical coherence. Three stages of the compositional process are defined and discussed, forming a framework within which the computer sound transformations and instrumental sources are described. The first stage consists of the generation of material and the qualifying of the sounds as the basis for initial musical relationships. Then the structuring of the musical discourse is discussed, highlighting links at macro and microstructural levels. Finally, issues of performance are discussed. Feedback from the performer and the design of a common synchronisation method for the three pieces drives the structural design of the works. Musical material and the visual information during performance are investigated, and consideration is given to their implications throughout the compositional process.
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Caesar, Rodolfo. "The composition of electroacoustic music." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412262.

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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.

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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.
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Gatt, Michael. "Tools for understanding electroacoustic music." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10754.

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There is an arguable lack of activity and interest in the analysis of electroacoustic music when compared to its composition and performance. The absence of a strong and active analytical community is very concerning, as it should be a fundamental part of any larger musical community that wishes for works to be performed and discussed in later years. The problems that face electroacoustic music analysis are that there is no consensus or single analytical tool/methodology that dictates how such an activity should be undertaken. Rather than attempting to appropriate existing tools meant for traditional musics or create a new universal one this thesis will argue that a new culture should be adopted that promotes different opinions on the subject of electroacoustic music analysis, as opposed to defining a consensus as to how it should be conducted. To achieve this the thesis will: evaluate and critique what constitutes and defines electroacoustic music analysis; provide a general and flexible procedure to conduct an analysis of an electroacoustic work; develop a set of criteria and terms to cross-examine the current analytical tools for electroacoustic music in order to define the gaps in the field and to identify pertinent elements within electroacoustic works; analyse a number of electroacoustic works to test and implement the ideas raised within this thesis; and finally the concept of an analytical community (in which such a culture could exist) is outlined and implemented with the creation of the OREMA (Online Repository for Electroacoustic Music Analysis) project. This universal approach will cover both epistemological and ontological levels of electroacoustic music analysis. All of the concepts raised above are interlinked and follow the main hypothesis of this thesis: • There is no one single analysis that can fully investigate a work; • Analyses are a perspective on a work, ultimately formed through the subjective perception of the analyst; • These perspectives should be shared with other practitioners to help develop a better understanding of the art form. This PhD study was part of the New Multimedia Tools for Electroacoustic Music Analysis project (2010-2013) funded by the Arts and Humanities Research Council (UK). Other outcomes of that project included the various analysis symposiums held at De Montfort University in Leicester and the electroacoustic analysis software EAnalysis created by Pierre Couprie.
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Books on the topic "Electroacoustic music"

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1961-, Licata Thomas, ed. Electroacoustic music: Analytical perspectives. Westport, Conn: Greenwood Press, 2002.

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Anderson, Joseph Lloyd. Portfolio of electroacoustic music compositions. Birmingham: University of Birmingham, 1995.

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Caesar, Rodolfo. The composition of electroacoustic music. Norwich: University of East Anglia, 1992.

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Emmerson, Simon, ed. The Language of Electroacoustic Music. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7.

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1950-, Emmerson Simon, ed. The Language of electroacoustic music. Houndmills, Basingstoke, Hampshire: Macmillan, 1986.

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1950-, Emmerson Simon, ed. The Language of electroacoustic music. New York: Harwood Academic Publishers, 1986.

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Hein, Folkmar. Internationale Dokumentation elektroakustischer Musik =: International documentation of electroacoustic music. [Berlin]: DegeM, 1996.

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Emmerson, Simon, and Leigh Landy, eds. Expanding the Horizon of Electroacoustic Music Analysis. Cambridge: Cambridge University Press, 2016. http://dx.doi.org/10.1017/cbo9781316339633.

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An introduction to the creation of electroacoustic music. Belmont, Calif: Wadsworth Pub. Co., 1994.

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1944-, Barrière Françoise, and Bennett Gerald, eds. Analyse en musique electroacoustique =: Analysis in electroacoustic music. France: Mnemosyne, 1997.

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Book chapters on the topic "Electroacoustic music"

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Knight-Hill, Andrew. "Electroacoustic Music." In Foundations in Sound Design for Linear Media, 303–26. New York : Routledge, 2019. | Series: Sound design series; volume 1: Routledge, 2019. http://dx.doi.org/10.4324/9781315106335-12.

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McDonnell, Maura. "Constructing visual music images with electroacoustic music concepts." In Sound and Image, 240–62. New York : Routledge, 2020. | Series: Sound design: Focal Press, 2020. http://dx.doi.org/10.4324/9780429295102-17.

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McNabb, Michael. "Computer Music: Some Aesthetic Considerations." In The Language of Electroacoustic Music, 141–53. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_8.

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Brown, Nicholas. "Electroacoustic Composition and Silent Film." In Music and Sound in Silent Film, 187–97. New York : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2018. http://dx.doi.org/10.4324/9781315276274-12.

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Emmerson, Simon. "Introduction." In The Language of Electroacoustic Music, 1–4. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_1.

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Harvey, Jonathan. "The Mirror of Ambiguity." In The Language of Electroacoustic Music, 175–90. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_10.

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Machover, Tod. "A Stubborn Search for Artistic Unity." In The Language of Electroacoustic Music, 191–215. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_11.

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Boulez, Pierre. "Technology and the Composer." In The Language of Electroacoustic Music, 5–14. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_2.

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Emmerson, Simon. "The Relation of Language to Materials." In The Language of Electroacoustic Music, 17–39. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_3.

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Wishart, Trevor. "Sound Symbols and Landscapes." In The Language of Electroacoustic Music, 41–60. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18492-7_4.

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Conference papers on the topic "Electroacoustic music"

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Branco, David Pedrosa, Iouliia Skliarova, and Jose Vieira. "Reconfigurable Digital Audio Mixer for Electroacoustic Music." In 2010 International Conference on Reconfigurable Computing and FPGAs (ReConFig 2010). IEEE, 2010. http://dx.doi.org/10.1109/reconfig.2010.28.

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Knight-Hill, Andrew. "Convergence in Parallel Praxis: Electroacoustic Music and Sound Design." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/parallelpraxis.

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Ucanok, Fulya. "Electroacoustic Composition Process as a Process of Com-position." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/electroacousticcomposition.

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Eigenfeldt, Arne. "NetBeat and Net4Tet--Networked Performance Instruments for Electroacoustic Music Students." In 2009 International Conference on Computational Science and Engineering. IEEE, 2009. http://dx.doi.org/10.1109/cse.2009.486.

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Di Bartolo, Florent. "Visualising the Multimedia Archives of Bourges’s Institute of Electroacoustic Music." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.33.

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Schellinx, Harold, and Emmanuel Ferrand. "Freely improvised and non-academic electroacoustic music by urban folks." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.26.

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Leider, Colby. "Multichannel Audio in Electroacoustic Music: An Aesthetic and Technical Research Agenda." In Multimedia and Expo, 2007 IEEE International Conference on. IEEE, 2007. http://dx.doi.org/10.1109/icme.2007.4285044.

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Bareggi, Andrea, and Simonetta Sargenti. "Towards Accessible and Sustainable Learning of Real Time Electroacoustic Composition and Performance at Undergraduate Academic Level." In 2nd International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010533707230730.

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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.

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Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses the sonification products of DNA and protein NMR data. The paper introduces On the Extinction of a Species, an acousmatic music composition combining NMR data sonification and voice narration. Ideas developed in electroacoustic composition, such as acousmatic storytelling and sound-based narration are presented and investigated for their use in sonification-based creative works.
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Hsu, Aurie, and Steven Kemper. "Kinesonic approaches to mapping movement and music with the remote electroacoustic kinesthetic sensing (RAKS) system." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791020.

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