Abstract

This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where the audio signal is essential, and where we usually read that those musics are non-written music. After an introduction on this topic, in the second section I will make a distinction between ‘before the signal’ and ‘from the signal’ to organise the theories to analyse electroacoustic music. In the third section, I will focus on computer music and I will show the historical difficulty in considering ‘code’ in musical analysis, mainly with an important exchange between two pioneers, Marco Stroppa and Jean-Claude Risset. In the fourth section I will explain with Jean-Claude Risset and Horacio Vaggione the specificity of computer music: this music is written. Finally, I will look into a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit with the latter specificity.

Highlights

  • My article deals with the analysis of computer music, and more precisely the one using at least one programming language, so that what the listener hears is the consequence of some computer codes1

  • In the first one I will present, with the help of a personal diagram, different theories for analysing electroacoustic music; in the second one I will shed light on the pioneering period where it was difficult to consider code of computer music to make analysis; in the third one, I will deal with the specificity of computer music; in the last section I will discuss a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit the specificity of computer music

  • I have explained two theories situated before the signal, the famous faktura by Battier, and the recent genetic criticism applied to music by Zattra. Even if the latter theories make a point – such as (Menegheni 2007) – I feel they miss something which I find central to computer music, something which is related to the ontology of computer music works: they exist through writings, through what we used to call code

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Summary

INTRODUCTION

My article deals with the analysis of computer music, and more precisely the one using at least one programming language, so that what the listener hears is the consequence of some computer codes. The medium of computer music has to be differentiated from the one of electroacoustic music The former is made of ‘code’, which (i) contains some operations made by the composer and (ii) permits us to hear the work, whereas the latter is an audio signal, which allow us to hear the work. Considering this difference, one may wonder how this peculiar medium can be used to analyse music, which tools and theories can be helpful for the analyst ?. In the first one I will present, with the help of a personal diagram, different theories for analysing electroacoustic music; in the second one I will shed light on the pioneering period where it was difficult to consider code of computer music to make analysis; in the third one, I will deal with the specificity of computer music; in the last section I will discuss a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit the specificity of computer music

ANALYSING COMPUTER MUSIC
Analysing ‘from the signal’
Analysing ‘before the signal’
ANALYSING COMPUTER MUSIC BEFORE THE SIGNAL
Tape music ?
Ontology
COMPUTER MUSIC CODE AS WRITING
Jean-Claude Risset’s ‘exhaustive score’
Horacio Vaggione’s ‘direct writing’
Faktura and genetic criticism applied to music
Between reading and listening
CONCLUSION
Full Text
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