Improvisation électroacoustique : analyse musicale, étude génétique et prospectives numériques

Abstract : Electroacoustic improvisation exists since the beginning of concrete music in the late 1940s. Inside the studio, the improvisation allowed to create sound material at the source of musical works. Facilitated by advances in technology and interdisciplinary artistic practices, free electroacoustic improvisation gradually taken off during 1990s to become one of the most important practice of electroacoustic genre. Studying an improvised electroacoustic performance combines several difficulties related to the analysis of free improvisation and analysis of electroacoustic music without support integrating technology even within its musical discourse. This paper studies a set of performances over a period of seven years by the group Les Phonogénistes on a film by Man Ray. It tries a genetic study of different performances, gradually revealing a complex musical object. It helps to highlight the importance of technology in musical structure, in construction of devices of each musician but also in the analysis itself. Indeed, analysis of electroacoustic works generally require the use of digital technology to collect sources, convert, extract sound description, and create representations to relate them or simply make the data intelligible. This part of musicological research takes advantage of recent researches in the field of archiving digital works, acoustics and development of software for musical analysis.
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Pierre Couprie. Improvisation électroacoustique : analyse musicale, étude génétique et prospectives numériques. Revue de musicologie, JSTOR, 2012, 98 (1), pp.149-170. ⟨hal-01261200⟩

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