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Spatiomorphology

Wed, 05/09/2012 - 16:45 — mikegatt

The term spatiomorphology was first coined by Denis Smalley in his chapter Spectro-morphology and Structuring Processes, which can be found in the The Language of Electroacoustic Music book. Smalley states spatiomorphology is concerned with a "defined grammar of localisation" (Smalley 1997: 122).

Auditory Scene Analysis

Wed, 05/09/2012 - 04:52 — dhirst

Undoubtedly one of the most substantial bodies of work on the perception of ordinary everyday sounds is the work carried out by Bregman (1999) on auditory scene analysis. Auditory scene analysis is like the cocktail party problem. How do we separate one person talking to us from all the other voices chatting to each other around us? Bregman seeks to answer this question.

Classification

Tue, 05/08/2012 - 16:02 — mikegatt

R Murray Schafer's Classification system was first introduced in 1977 within his book the Tuning of the World. It is referenced in a chapter sharing the same name. He refers to the framework as a selection of "cataloguing systems for sound" (Schafer 1977: 134), although some of the systems are more developed than others.

Pleasure Framework

Tue, 04/03/2012 - 15:36 — mikegatt
​The Pleasure Framework is a collection of thirteen categories to describe pleasure in interactive works. It was developed by Brigid Costello in 2007 in order to evaluate a person's experience of a work. The thirteen categories are: creation, exploration, discovery, difficulty, competition, danger, captivation, sensation, sympathy, simulation, fantasy, camaraderie and subversion.

Temporal Elements

Thu, 03/22/2012 - 15:53 — mikegatt

Temporal Elements can be described as a cognitive-based system of identifying and labelling basic temporal elements, focusing mainly on relationships between sound events. Robert J. Frank initially coined the term as part of his 1995 dissertation, which he has developed further in subsequent journal publications to SEAMUS and the EMS (SEAMUS article can be found here). 

The something to hold on to factor

Thu, 01/05/2012 - 14:59 — mikegatt

The "something to hold on to factor" was a term introduced in 1994 by Leigh Landy. The term refers to a tool, or more specifically a framework of categories, that can be used to define the elements of a work that provide access to a listener.

Aesthesic-Cognitive Analysis

Sun, 12/04/2011 - 16:47 — mikegatt

The Aesthesic-Cognitive Analysis is an analytical methodology that considers a piece from its formal to structural level by segmenting the piece into individual sound events and larger structures. Once a piece has been analysed it is then synthesised to determine the compositional methodology and significance of the piece. Because of this the methodology requires multiple listening.

Faktura

Sun, 12/04/2011 - 16:35 — mikegatt

Faktura is a concept, introduced by Marc Battier in 2003, that is directly linked to the study of technology and the materials used to create a piece of music. The term was first coined by he Russian Constructivists who used this approach in other forms of art.

I-Son

Sun, 12/04/2011 - 16:33 — mikegatt

I-Son (I-Sound) or Image-of-sound is a concept that was introduced by François Bayle to describe how sounds within acousmatic music can relate to metaphor, icon or an archetype. Although the broad concepts where first presented in 1986 it wasn't until 1989 that Bayle first introduced the term I-Son.

Theory of Oppositions

Sun, 12/04/2011 - 16:29 — mikegatt

The Theory of Oppositions is an analytical technique developed by Robert Cogan in his book New Images of Musical Sound published in 1985.

The technique first segments a piece into model sonorities or "significant formations and details" (Cogan 1985: 6), also referred to as sonic contexts, then it measures these segments against a list of antonym pairs. This then is used to deduce whether the segments are either negative, positive or neutral resulting in a block graph that shows this progression over the entire piece. This is referred to as the table of opposition.

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