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New Multimedia Tools for Electroacoustic Music Analysis

用于电声音乐分析的新多媒体工具

基本信息

批准号：
AH/H039937/1
负责人：
Simon Emmerson
金额：
$ 38.23万
依托单位：
De Montfort University
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH039937%2F1
关键词：
New Multimedia Tools Electroacoustic Music

项目摘要

The term 'electroacoustic music' refers to a wide-ranging body of work for which sound quality (timbre) more than pitch is the focus of the musical material and its working (though pitch is not excluded). It is composed and performed using electronic technology. Works exist in whole or in part in recorded form and/or ('live electronic music') produced through real-time sound production and transformation. For the most part composers work directly with sound (performed, recorded or synthesised) and rarely use traditional notation. It is not a single genre, but a cluster of practices and approaches around these core themes (for example, 'classic acousmatic', glitch, electronica, plunderphonics and others).An analytical understanding of how the music works is less developed than for other kinds of contemporary music. There have been important attempts to establish basic principles of examining the music (for example, by Pierre Schaeffer, Denis Smalley, Stéphane Roy) but these have been fragmented, not agreed on terms, the 'units' of the music or how best to approach the representation of the music visually. There has been little empirical application and evaluation of these procedures. In addition it has sometimes not been clear whether the analysis has referred to the composer's intentions or to the listener's possible perceptions and interpretations. While not excluding the composer's testimony, this project will focus on the listener's point of view.This project proposes to establish an analysis research programme for this cluster of genres of music. This will draw together existing methods, engage the latest interactive and hypermedia tools, and apply them to a range of works to compare their strengths and weaknesses. This aims to illuminate both the procedures and the works. We will be better able to judge what analytical approach (or approaches) would be best suited to gain an insight and understanding of a particular genre of the music. A number of new extensions, developments and refinements will result in a newly developed software application ('E-Analyse' derived from iAnalyse (Couprie 2009)) which can apply a range of possible approaches.This can be articulated in five component objectives:(1) Tool assembly: to assemble a wide range of analytical approaches and software applications, sorting out descriptive language, selectively to filter each to an appropriate, useful and useable tool set.(2) Appropriate representation: examining the representation of the music, what is (and is not) encoded in different representation approaches, comparing and evaluating the available tools;(3) Comparative evaluation: application of a wide range of procedures to a very wide range of works across all genres of electroacoustic music; evaluation of appropriateness/effectiveness of an approach with respect to genre;(4) Making the toolkit coherent: proposals for extensions and improvements to the assembled tools; empirical testing and evaluation on a range of works.(5) Software development and innovation (E-Analyse)Based on the existing freeware package iAnalyse (Couprie 2009), in which additional tools for representation, parsing, grouping, specific to the needs of electroacoustic music are added. This will necessarily be informed by the preceding.The results of the music analysis generated by the project (including the results of three Research Symposia (year 2) along with additional specialist commissioned contributions would result in a book with integrated DVD-ROM (including E-Analyse and worked examples). There would be website distribution of the E-Analyse application (e.g. MTI and EARS). Outcomes would further include a range of journal articles and conference presentations on individual issues. The team would consist of: the two applicants, 1 researcher (part-time) and 1 research student advised by a small international group of well-known specialists in the field.

“电声音乐”一词指的是一个广泛的作品，其中音质（音色）比音高更是音乐材料及其工作的重点（尽管音高不被排除在外）。它是由电子技术组成和执行的。作品全部或部分以录音形式存在，和/或（“现场电子音乐”）通过实时声音制作和转换而产生。在大多数情况下，作曲家直接使用声音（表演，录音或合成），很少使用传统的记谱法。它不是一个单一的流派，而是围绕这些核心主题的一系列实践和方法（例如，“经典声学”，故障，电子，plunderphonics和其他）。对音乐如何运作的分析理解不如其他类型的当代音乐发达。有一些重要的尝试来建立检查音乐的基本原则（例如，皮埃尔·谢弗，丹尼斯·斯莫利，斯特凡·罗伊），但这些都是支离破碎的，没有达成一致的条款，音乐的“单位”或如何最好地接近音乐的视觉表现。对这些程序的经验应用和评价很少。此外，有时不清楚分析是否涉及作曲家的意图或听众可能的感知和解释。在不排除作曲家证词的同时，本项目将侧重于听众的观点。本项目建议为这一系列音乐类型建立一个分析研究计划。这将汇集现有的方法，采用最新的互动和超媒体工具，并将其应用于一系列作品，以比较其优缺点。这旨在阐明程序和工程。我们将能够更好地判断什么样的分析方法（或方法）最适合于获得对特定音乐流派的洞察和理解。一些新的扩展、发展和改进将导致新开发的软件应用程序（“E-Analyse”源自iAnalyse（Couprie 2009）），可应用一系列可能的方法。这可以通过五个组件目标来阐述：（1）工具组装：收集广泛的分析方法和软件应用程序，整理描述性语言，有选择地将每一种方法过滤为适当的，有用的和有用的工具集。(2)适当的代表性：研究音乐的表现形式，（3）比较评估：将广泛的程序应用于所有类型的电声音乐的广泛作品;评估方法在类型方面的适当性/有效性;（4）使工具包一致：对组合工具的扩展和改进提出建议;对一系列工作进行经验测试和评估。(5)软件开发和创新（E-Analyse）基于现有的免费软件包iAnalyse（Couprie 2009），其中添加了针对电声音乐需求的额外表示，解析，分组工具。这个项目所产生的音乐分析的结果（包括三个研究研讨会（第二年）的结果，沿着其他专家委托的贡献）将产生一本集成了DVD-ROM的书（包括电子分析和工作示例）。将在网站上分发电子分析应用程序（例如MTI和EARS）。成果还将包括一系列关于个别问题的期刊文章和会议发言。该小组将包括：两名申请人，一名研究员（兼职）和一名研究生，由该领域的一个小型国际知名专家小组提供咨询。