Compositional Structure and Functional Analysis of ‘Globalalia’
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Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding 'Globalalia', the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.
Abstract
Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding 'Globalalia', the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.
참고문헌 (9)
- Brattico, E., "Perception and Musical Preferences in Wishart's Work", Journal of New Music Research, pp.107~119 (2000)
- Dack, J., "Sound Art and Music:Philosophy, Composition, Performance" (2020), Cambridge Scholars Publishing
- Martins, F. M., "On Trevor Wishart's Musical Trade-Offs:Compositional Goals, Material's Selection, and Suitable Sound Processes Supporting the Listener Perception", Proceedings of the 11th International Conference of Students of Systematic Musicology, pp.137~144 (2018)
- "Trevor Wishart: Chemistry Of Sound" (2009)[URL]
- Seddon, A, "Recurrence in Acousmatic Music" (2013), City University, London Centre for Music Studies
- Stewart, I. J, "Functional Analysis and Electroacoustic Composition: Theory, Extensions and Implications" (2007), City University
- Vassilandonakis Y, W. T., "An Interview with Trevor Wishart", Computer Music Journal, pp.8~23 (2009)
- Vassilandonakis, Y., "An Interview with Trevor Wishart", Computer Music Journal, pp.8~23 (2009)
- Wishart, T, "Sound Composition" (2012), Orpheus The Pantomime Ltd