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Expanding the Horizon of Electroacoustic Music Analysis
Analysing Sound Art: Douglas Henderson’sFadensonnen(2009)
edited-book
Author(s):
Kersten Glandien
Publication date:
February 29 2016
Publisher:
Cambridge University Press
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Art as experience
J. Dewey
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John DEWEY
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J. DEWEY
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(1980)
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The Open Work
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Cognitive models of psychological time
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R. A. Block
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Block R. A.
(1990)
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Book Chapter
Publication date:
February 29 2016
Pages
: 266-287
DOI:
10.1017/CBO9781316339633.014
SO-VID:
78781c8e-c9ca-4f53-9240-18123fec1504
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Book chapters
pp. 8
The analysis of electroacoustic music: the differing needs of its genres and categories
pp. 31
Listening and meaning: how a model of mental layers informs electroacoustic music analysis
pp. 3
Introduction
pp. 58
Forming form
pp. 80
Interactive and generative music: a quagmire for the musical analyst
pp. 102
Some ideas concerning the relationship between form and texture
pp. 123
Exploiting computational paradigms for electroacoustic music analysis
pp. 148
OREMA: an analytical community
pp. 170
EAnalysis: developing a sound-based music analytical tool
pp. 197
Trevor Wishart’sChildren’s Stories IIfromEncounters in the Republic of Heaven: an analysis for children of a sample-based composition
pp. 209
Analysis ofFoilby Autechre (fromAmber(1994))
pp. 231
Temporal recurrence in Andrew Lewis’sPenmon Point
pp. 247
Michel Waisvisz:No Backup / Hyper Instruments
pp. 266
Analysing Sound Art: Douglas Henderson’sFadensonnen(2009)
pp. 288
Analysing the identifiable: cultural borrowing in Diana Salazar’sLa voz del fuelle
pp. 310
Kireek2011 Championship routine analysis
pp. 333
The analysis of live and interactive electroacoustic music: Hans Tutschku –Zellen-Linien(2007)
pp. 355
Audio-only computer games:Papa Sangre
pp. 376
Some questions around listening:Vancouver Soundscape Revisitedby Claude Schryer
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