Résumés
Abstract
This article presents five computer-assisted analyses of musical recordings with a focus on microtuning, describing the details of pitch at sub-semitone level. Microtuning encompasses intonation, tuning systems, pitch inflection, vibrato, and sliding tones. As such, the article focuses on the analysis of recorded music and considers a wide variety of musical traditions: an American folk song, an Ainu lament, a Christian Ethiopian devotional, a Beethoven string quartet, and a Tom Waits song. This article asks how music notation might most effectively capture microtuning in transcriptions and how the analysis of recordings, rather than musical scores, might enrich pedagogy and practice in music theory, performance, and composition.
Keywords:
- tuning,
- microtuning,
- intonation,
- theory,
- composition,
- curriculum reform,
- ethnomusicology,
- computer‑assisted analysis
Résumé
Cet article présente cinq analyses assistées par ordinateur d’enregistrements musicaux, en mettant l’accent sur le microaccord, décrivant les détails de la hauteur au niveau inférieur au demi-ton. Le microaccord englobe l’intonation, les systèmes d’accord, l’inflexion de la hauteur, le vibrato et le glissando. En tant que tel, l’article se concentre sur l’analyse de la musique enregistrée et examine une grande variété de traditions musicales : une chanson folklorique américaine, une complainte Ainu, une dévotion chrétienne éthiopienne, un quatuor à cordes de Beethoven et une chanson de Tom Waits. Cet article s’interroge sur la manière dont la notation musicale peut rendre compte le plus efficacement possible du microaccord dans les transcriptions et sur la manière dont l’analyse des enregistrements, plutôt que des partitions, peut enrichir la pédagogie et la pratique de la théorie, de l’interprétation et de la composition musicales.
Mots-clés :
- accordage,
- microaccordage,
- intonation,
- théorie,
- composition,
- réforme des programmes scolaires,
- ethnomusicologie,
- analyse assistée par ordinateur
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Parties annexes
Biographical note
Taylor Brook writes music for the concert stage, electronic music, music for robotic instruments, generative music software, and music for video, theatre, and dance. His music is often concerned with finely tuned microtonal sonorities as well as unique approaches to the integration of electronic sound and digital media. Brook enjoys collaborating with performers and ensembles on the development of new works, including Mira Benjamin, Jeffrey Gavett, Corey Hamm, Dana Jessen, Andy Kozar, Vicki Ray, Quatuor Bozzini, Del Sol Quartet, JACK quartet, PARTCH ensemble, and many others.
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