{"id":938,"date":"2013-10-13T11:00:39","date_gmt":"2013-10-13T09:00:39","guid":{"rendered":"http:\/\/www.pierrecouprie.fr\/?p=938"},"modified":"2014-01-01T19:19:12","modified_gmt":"2014-01-01T18:19:12","slug":"introduction-a-la-musique-electroacoustique-et-son-analyse","status":"publish","type":"post","link":"http:\/\/www.pierrecouprie.fr\/?p=938","title":{"rendered":"Introduction \u00e0 la musique \u00e9lectroacoustique et son analyse"},"content":{"rendered":"<p><a href=\"http:\/\/www.pierrecouprie.fr\/wp-content\/uploads\/2013\/10\/ondesCroisees700.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"ondesCroisees700\" src=\"http:\/\/www.pierrecouprie.fr\/wp-content\/uploads\/2013\/10\/ondesCroisees700.jpg\" width=\"560\" height=\"335\" \/><\/a><\/p>\n<p>Voici quelques r\u00e9f\u00e9rences pour accompagner mon cours d&rsquo;introduction \u00e0 la musique \u00e9lectroacoustique et \u00e0 son analyse pour les \u00e9tudiants du\u00a0<a href=\"http:\/\/www.atiam.ircam.fr\" target=\"_blank\">Master ATIAM<\/a>.<\/p>\n<h2>Bibliographie s\u00e9lective<\/h2>\n<ul>\n<li>(collectif), <strong><em>Kaija Saariaho<\/em><\/strong>, Les cahiers de l&rsquo;Ircam,\u00a0Paris, Ircam &#8211; Centre Georges Pompidou, 1994.<\/li>\n<li>(collectif),\u00a0<strong><em>Ou\u00efr, entendre, \u00e9couter, comprendre apr\u00e8s Schaeffer<\/em><\/strong>, Paris, INA-GRM\/Buchet-Chastel, 1999.<\/li>\n<li>(collectif), <em><strong>EARS: ElectroAcoustic Resource Site<\/strong><\/em>, Leicester, De Montfort University, 2006 :\u00a0<a href=\"http:\/\/www.ears.dmu.ac.uk\" target=\"_blank\">http:\/\/www.ears.dmu.ac.uk<\/a>.<\/li>\n<li>Marc Battier,\u00a0<strong>\u00abScience et technologie comme sources d&rsquo;inspiration\u00bb<\/strong>, in\u00a0<em>Musiques Une encyclop\u00e9die pour le XXIe si\u00e8cle<\/em>, vol. 1, Paris,\u00a0Actes Sud\/Cit\u00e9 de la musique, 2003.<\/li>\n<li>Marc Battier,\u00a0<strong>\u00abLaboratoires\u00bb<\/strong>, in\u00a0<em>Musiques Une encyclop\u00e9die pour le XXIe si\u00e8cle<\/em>, vol. 1, Paris,\u00a0Actes Sud\/Cit\u00e9 de la musique, 2003.<\/li>\n<li>Olivier Baudoin,\u00a0<em><strong>Pionniers de la musique<\/strong>\u00a0<strong>num\u00e9rique<\/strong><\/em>, Paris, Delatour, 2012.<\/li>\n<li>Fran\u00e7ois Bayle,\u00a0<strong><em>L&rsquo;exp\u00e9rience<\/em><em>\u00a0acoustique<\/em><\/strong>, Paris, Magison, 2013, livre+c\u00e9d\u00e9rom.<\/li>\n<li>Jacqueline Caux, <em><strong>Presque rien avec Luc Ferrari<\/strong><\/em>, Paris, Main d&rsquo;\u0153uvre, 2002.<\/li>\n<li>Michel Chion,\u00a0<strong>La Musique \u00e9lectroacoustique<\/strong>, PUF, coll, Que sais-je ?, n\u00b01990, Paris, 1982.<\/li>\n<li>Michel Chion,\u00a0<strong><em>Guide des objets sonores<\/em><\/strong>, Paris, INA-GRM\/Buchet-Chastel, 1983 (introduction au\u00a0<strong><em>Trait\u00e9 des objets<\/em>\u00a0musicaux<\/strong>)<\/li>\n<li>Michel Chion,\u00a0<em><strong>Pierre Henry<\/strong><\/em>, Paris, Fayard, 2003.<\/li>\n<li>Michael\u00a0Clarke,<strong>\u00a0\u00ab Analysing Electroacoustic Music: an Interactive Aural Approach \u00bb<\/strong>,\u00a0<i>Music Analysis<\/i>, 31, 2012, p. 347-380.<\/li>\n<li>Pierre Couprie,\u00a0<strong>\u00ab Analyse compar\u00e9e des Trois r\u00eaves d\u2019oiseau de Fran\u00e7ois Bayle \u00bb<\/strong>,\u00a0<em>Demeter<\/em>, Universit\u00e9 de Lille, 2003,\u00a0<a href=\"http:\/\/demeter.revue.univ-lille3.fr\/analyse\/couprie.pdf\" target=\"_blank\">http:\/\/demeter.revue.univ-lille3.fr\/analyse\/couprie.pdf<\/a>.<\/li>\n<li>Pierre Couprie,\u00a0<strong>\u00ab Une analyse d\u00e9taill\u00e9e de Bohor (1962) \u00bb<\/strong>, <em>Definitive Proceedings of the International Symposium Iannis Xenakis (Ath\u00e8nes, mai 2005)<\/em>, 2007, 9 p,\u00a0<a href=\"http:\/\/cicm.mshparisnord.org\/ColloqueXenakis\/papers\/Couprie.pdf\" target=\"_blank\">http:\/\/cicm.mshparisnord.org\/ColloqueXenakis\/papers\/Couprie.pdf<\/a>.<\/li>\n<li>Pierre Couprie,\u00a0<strong>\u00ab Cartes et tableaux interactifs : nouveaux enjeux pour l\u2019analyse des musiques \u00e9lectroacoustiques \u00bb<\/strong>,\u00a0<em>Journ\u00e9es d\u2019Informatique Musicale<\/em>, Paris, Universit\u00e9 Paris 8, 2013, pp. 97-102,\u00a0<a href=\"http:\/\/www.mshparisnord.fr\/JIM2013\/actes\/jim2013_12.pdf\" target=\"_blank\">http:\/\/www.mshparisnord.fr\/JIM2013\/actes\/jim2013_12.pdf<\/a>.<\/li>\n<li>Fran\u00e7ois Delalande,\u00a0<strong>\u00abLe paradigme \u00e9lectroacoustique\u00bb<\/strong>, in\u00a0<em>Musiques Une encyclop\u00e9die pour le XXIe si\u00e8cle<\/em>, vol. 1, Paris,\u00a0Actes Sud\/Cit\u00e9 de la musique, 2003.<\/li>\n<li>Fran\u00e7ois Delalande,\u00a0<em><strong>Analyser la musique, pourquoi, comment ?<\/strong><\/em>, Paris, INA-GRM, 2013.<\/li>\n<li>Simon Emmerson,\u00a0<em><strong>The language of electroacoustic music<\/strong><\/em>, New York, Macmillan Press, 1986.<\/li>\n<li>Evelyne Gayou,\u00a0<em><strong>GRM Le groupe de recherches musicales. Cinquante ans d&rsquo;histoire<\/strong><\/em>, Paris, Fayard, 2007.<\/li>\n<li>Lelio Camilleri, Denis Smalley,\u00a0<em><strong>Analysis of electroacoustic music<\/strong><\/em>, <em>Journal of New Music Research<\/em>, vol. 27, n\u00b01-2, 1998.<\/li>\n<li>Leigh Landy, <em><strong>Understanding the art of sound organization<\/strong><\/em>, Cambridge, MIT Press, 2007.<\/li>\n<li>Philippe Langlois,\u00a0<em><strong>Les cloches d&rsquo;Atlantis. Musique \u00e9lectroacoustique et cin\u00e9ma. Arch\u00e9ologie et histoire d&rsquo;un art sonore<\/strong><\/em>, Paris, MF, 2012.<\/li>\n<li>Philippe Mion, Jean-Jacques Nattiez &amp; Jean-Christophe Thomas,\u00a0<strong><em>L\u2019envers d\u2019une \u0153uvre De natura sonorum de Bernard Parmegiani<\/em><\/strong>, Paris, INA-GRM\/Buchet Chastel, 1982.<\/li>\n<li>St\u00e9phane Roy,\u00a0<em><strong>L\u2019analyse des musiques \u00e9lectroacoustiques : Mod\u00e8les et propositions<\/strong><\/em>, Paris, L\u2019Harmattan, 2003.<\/li>\n<li>Luigo Russolo, <em><strong>L&rsquo;art des bruits<\/strong><\/em>, Paris, Allia, 2003 (r\u00e9\u00e9dition de 1913).<\/li>\n<li>Pierre Schaeffer,\u00a0<strong><em>Trait\u00e9 des objets musicaux<\/em><\/strong>, Paris, INA-GRM, 1966.<\/li>\n<li>Pierre Schaeffer,\u00a0<strong><em>Solf\u00e8ge de l&rsquo;objet sonore<\/em><\/strong>, Paris, Seuil, 1998 (r\u00e9\u00e9dition de 1967).<\/li>\n<li>R.Murray Schafer,\u00a0<em><strong>Le paysage sonore<\/strong><\/em>, Paris, Jean-Claude Latt\u00e8s, 1979 (r\u00e9\u00e9dit\u00e9 en 2010 par Wildproject).<\/li>\n<li>Mary Simoni,\u00a0<em><strong>Analytical methods of electroacoustic music,<\/strong><\/em>\u00a0New York, Routledge, 2006.<\/li>\n<li>Makis\u00a0Solomos,\u00a0<strong><i>De la musique au son. L\u2019\u00e9mergence du son dans la musique des XXe-XXIe si\u00e8cle<\/i><\/strong>, Rennes, PUR, 2013, p. 284.<\/li>\n<li>Lasse Thoresen,<strong>\u00a0\u00ab Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer&rsquo;s typomorphology \u00bb<\/strong>, <em>Organised Sound<\/em>, 12\/2, 2007, p. 129-141.<\/li>\n<li>Barry Truax,\u00a0<em><strong>Handbook for acoustic ecology<\/strong><\/em>,\u00a0Cambridge, 1999, en ligne :\u00a0<a href=\"http:\/\/www.sfu.ca\/sonic-studio\/handbook\/\" target=\"_blank\">http:\/\/www.sfu.ca\/sonic-studio\/handbook\/<\/a><\/li>\n<\/ul>\n<h2>Actes de conferences et revues en ligne<\/h2>\n<ul>\n<li><a href=\"http:\/\/cec.sonus.ca\/econtact\/index.html\" target=\"_blank\">eContact!<\/a><\/li>\n<li><a href=\"http:\/\/www.ems-network.org\/spip.php?rubrique48\" target=\"_blank\">Electronic Music Studies Network<\/a><\/li>\n<li><a href=\"http:\/\/jim.afim-asso.org\" target=\"_blank\">Journ\u00e9es d&rsquo;Informatique Musicale<\/a><\/li>\n<li><a href=\"http:\/\/www.inagrm.com\/accueil\/collections\/portraits-polychromes\" target=\"_blank\">Portraits polychromes<\/a><\/li>\n<\/ul>\n<h2>Emission de radio, enregistrement, vid\u00e9o<\/h2>\n<ul>\n<li><a href=\"http:\/\/www.youtube.com\/watch?v=ttanIwyblOU\" target=\"_blank\">visite du studio de la WDR<\/a><\/li>\n<li><a href=\"http:\/\/www.institut-national-audiovisuel.fr\/sites\/ina\/medias\/upload\/grm\/webmedia\/2011\/au_coeur_acousmonium\/html5\/co\/Coeur_acousm1_montage.html#segment_EtRhhSWXGLhsGjvaMUdoVc1\" target=\"_blank\">pr\u00e9sentation de l&rsquo;acousmonium du GRM<\/a><\/li>\n<li><a href=\"http:\/\/www.youtube.com\/watch?v=jM65sUdaS_4\" target=\"_blank\">pr\u00e9sentation du\u00a0BEAST\u00a0\u2013 Birmingham ElectroAcoustic Sound Theatre<\/a><\/li>\n<\/ul>\n<h2>Musique<\/h2>\n<p>Liste de lecture sur Spotify (n\u00e9cessite un compte) :\u00a0<a href=\"https:\/\/play.spotify.com\/user\/pierrecouprie\/playlist\/5Wi5bNF31Z5bPAjlt5fmhO\" target=\"_blank\">https:\/\/play.spotify.com\/user\/pierrecouprie\/playlist\/5Wi5bNF31Z5bPAjlt5fmhO<\/a><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/user\/pierrecouprie\/playlist\/5Wi5bNF31Z5bPAjlt5fmhO\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/p>\n<ul>\n<li><a href=\"http:\/\/fresques.ina.fr\/artsonores\/\" target=\"_blank\">Art sonore, l&rsquo;aventure \u00e9lectroacoustique<\/a>\u00a0(GRM)<\/li>\n<li><a href=\"http:\/\/www.sonus.ca\" target=\"_blank\">Sonus<\/a>\u00a0:\u00a0online listening library of electroacoustic works<\/li>\n<li><a href=\"http:\/\/www.ubu.com\/sound\/electronic.html\" target=\"_blank\">UbuWeb\u00a0: History of Electronic \/ Electroacoustic Music<\/a><\/li>\n<\/ul>\n<h2>Logiciels d&rsquo;aide \u00e0 l&rsquo;analyse musicale<\/h2>\n<ul>\n<li>Acousmographe :\u00a0<a href=\"http:\/\/www.inagrm.com\/accueil\/outils\/acousmographe\" target=\"_blank\">http:\/\/www.inagrm.com\/accueil\/outils\/acousmographe<\/a><\/li>\n<li>Acousmoscribe :\u00a0<a href=\"http:\/\/scrime.labri.fr\/index.php?option=com_content&amp;view=article&amp;id=11:acousmoscribe&amp;lang=en\" target=\"_blank\">http:\/\/scrime.labri.fr\/index.php?option=com_content&amp;view=article&amp;id=11:acousmoscribe&amp;lang=en<\/a><\/li>\n<li>EAnalysis :\u00a0<a href=\"http:\/\/eanalysis.pierrecouprie.fr\" target=\"_blank\">http:\/\/eanalysis.pierrecouprie.fr<\/a><\/li>\n<li>iAnalyse Studio :\u00a0<a href=\"http:\/\/ianalyse.pierrecouprie.fr\" target=\"_blank\">http:\/\/ianalyse.pierrecouprie.fr<\/a><\/li>\n<li>Plug-in Aural Sonogy pour l&rsquo;Acousmographe :\u00a0<a href=\"http:\/\/www.inagrm.com\/aural-sonology-plugin-0\" target=\"_blank\">http:\/\/www.inagrm.com\/aural-sonology-plugin-0<\/a><\/li>\n<li>T<em>IA<\/em>ALS :\u00a0<a href=\"http:\/\/www.hud.ac.uk\/research\/researchcentres\/tacem\/\" target=\"_blank\">http:\/\/www.hud.ac.uk\/research\/researchcentres\/tacem\/<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Voici quelques r\u00e9f\u00e9rences pour accompagner mon cours d&rsquo;introduction \u00e0 la musique \u00e9lectroacoustique et \u00e0 son analyse pour les \u00e9tudiants du\u00a0Master ATIAM. Bibliographie s\u00e9lective (collectif), Kaija Saariaho, Les cahiers de l&rsquo;Ircam,\u00a0Paris, Ircam &#8211; Centre Georges Pompidou, 1994. (collectif),\u00a0Ou\u00efr, entendre, \u00e9couter, comprendre apr\u00e8s Schaeffer, Paris, INA-GRM\/Buchet-Chastel, 1999. (collectif), EARS: ElectroAcoustic Resource Site, Leicester, De Montfort University, 2006 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[11,10],"tags":[],"class_list":["post-938","post","type-post","status-publish","format-standard","hentry","category-conference","category-recherche"],"_links":{"self":[{"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/posts\/938","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=938"}],"version-history":[{"count":17,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/posts\/938\/revisions"}],"predecessor-version":[{"id":989,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=\/wp\/v2\/posts\/938\/revisions\/989"}],"wp:attachment":[{"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=938"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=938"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.pierrecouprie.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=938"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}