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The OREMA Project: A call for the liberation of sound analysis

Published online by Cambridge University Press:  16 November 2015

Michael Gatt
Michael Gatt*
Affiliation:
35 Notton Way, Lower Earley, Reading, RGG 4AJ, UK
*
Email: michael.emanuel.gatt@gmail.com
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Abstract

Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?

Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 3: Aesthetic Radicalism, Future and Past , December 2015 , pp. 316 - 322
Copyright
© Cambridge University Press 2015 

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