Graphical representation: an analytical and publication tool for electroacoustic music
Résumé
When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication. Since this time, I have come across various analytical methods related to this type of music, from which I have developed a specific process. During this time, multimedia has slowly asserted its presence within the research domain: software has been developed and is now used by researchers. Nowadays, analysis can be found on media such as the CD-ROM or the Internet, and the simultaneous combination of sound, graphics and texts is very common. In this context, graphical repre- sentation seems to constitute a real tool for analysis and for the publication of electroacoustic music: henceforth, analysis and representation will be insepa- rable. Such an attitude will no doubt be very beneficial for music research. Indeed, representation raises new problems (relations between image and sound, the didactical aspect of a sound publication or even the boundary between musical research and creation) in relation to disciplines as yet little used (for example semiotics); so many possibilities that, I think, will encourage a real renewal of ideas in music research.
I suggest dividing my study of analytical representa- tion into four steps. Such a procedure will enable a greater understanding of the reasons why representa- tion could be a great pedagogical tool, not only to guide the listening of neophytes but also as an analyti- cal tool, particularly appropriate to electroacoustic music.
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