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INTEAFACE - Journal ot New Music Research - is an international journal devoted to discussion 01 all
questions which laa into the border~ne areas between music on the one haod, physical and human
sciences or related technologies on !he other. New fields of research, as well as new methods of
wwestigation in known fields. receive special emphasis.
In addition, shorter communications oooceming the descriptiotl of new apparatus. compositional de·
vices, short interviews, desaiptions of new computer programs. interim reports on current activities in
electronic studios. institutions. &le. are eligible for publicallon.
It is publiShed quarterly. lour Issues of approx. 64 pages seen tOl1Tling one annual volume.
Authors are invited to send manuscripts and all communications related to the following address:
InterfacI
The Edtors of Interlace
cia Swats Publishing Service
347b. Heereweg
2160 AH lISSE, The Netherlands
AI COITespondence concerning subsaiptiort!. and reprints should be sent :0 the publishers: Journal of New Music Research
Swets Pub~shing Service
347b, Heereweg
2160 AH USSE, The Netherlands Edlto,..
\
·1
-I
PUBLISHED BY
SWETS & ZEITUNGER B.Y. - USSE
• d', ,.'~' ""vi ~ .... vu
".Ul>I"; III tll"; r\lf. A l':"aull) Lanuscapc - Here And There 199 " Swets & Zeitlinger
H~nning Lohner:
Interview with Peter Maxwell Davis 225
A System of Notation for Electro-acoustic Music:
A Proposition
Book Reviews 248
Louise Gariepy and Jean Decarie
Author Index
INTRODUCTION
Electra-acoustic music has existed for nearly 50 years and it is surprising that
composers still do not havc a common system of notation in a century in which
". technicians, ideas and artistic tendencies arc easily communicated from one
continent to another and in which international conferences, normalization
associations and scholarly publications, especi<'llly in the scientific and tech-
•
no logical fields, tend to unify vocabularies, measuring units and symbols. One written musical notation:
. often hears that if such a system does not exist, it demonstrates that the need a sound recording bec<lme a much more reliable "memory" than <lny kind of
does not exist. In our opinion, this statement is made too quickly: contempo- score;
rary instrumental music is in dire need of scores and yet composers, inter- growing inlerest for non-European musical cultures showed how impossible
preters and musicologists all confront a comparable problem. if not to say a it was for a musician who had not deeply assimilated the conventions of
controversy. another culture, to use a performance score;
Many authors have thought about the problem of notation and musical finally, the development of acoustical and psycho-acoustical knowledge
score and we do not intend 10 go over all of its facets. What we have to say concurrently with the appearance of increasingly perfect measuring devices,
about it will strictly serve the purpose of providing a context for our research offered "scientific" tools to those who wished to create truly descriptive
and of emphasizing characteristics peculiar to electra-acoustic music, charac- scores.
teristics that we wish to respect in the system we propose here.
Historically, electra-acoustic music arose at a time when a profound ques· Lengthy discussion about the profound transformations of Ihe concept of
tioning of traditional musical notation and its essential functions made its notation itself is nOI within our immediate considerations. However, before
appearance. dealing with the electra-acoustic score, it is important to stress the fact that
The oldest (and probably the most permanent) of these functions was that differences and controversies cxtended far beyond thc context of this form of
of mnemonic aid for musicians who shared common musical traditions and expression.
customs; this explains the lack of precision in older texts: gregorian neumes, ~
figured-bass and even baroque or classical music ornamentation. Electro·aCOllstic scores
Then, as Sceger (1958) explains, notation was utilized more and more for What happens in the cllse ofwrillen notation of electra-acoustic music? Costin
"prescripti\;e" purposes, first by the religious orders, then by composers. (The ,Mieranu (1974) distinguishes four kinds of approaches toward this problem:
term "prescriptive" still carries a somewhat negative connolation, when we (I) No written score;
think of how extraordinary this tool, musical notation, was. Without notation, (2) Performance score;
the grealest master-pieces of accidental music would never have been brought· (3) Reading diagrams;
to light and possibly would never even have been thought of by musicians. The ' (4) Listening transcriptions. t
fact that notation has allowed a few "monsters"' to exist, does not allow us to
accuse it, like Framjois Bernard Miiche (1978), of "inflated pretensions ... to ~ "(l) The first approach is a total rejection of any form ofwrinen score. At first
the point of having sound drown in paper-work".) (p. 35) "g!ance, one might believe that such an approach is motivated by the means of
Inasmuch as a score had to transmit a musical idea from composer to production themselves:
interpreter, obviously, it was "prescriptive" rathcr than "descriptive", if wt --:the composer is his own interpreter and feels no need to "prescribe" to
use Seeger's terminology which so adequately illustrates the tendencies of the. -himself what 10 "play" and how to "play" his own music.
last few decades. However, as long as symbols and notal ion rules were known '~~composition and interpretation arc intimately related in studio work and a
and acceplcd by musicians sharing the same musical culture, a rcading of the ,';-)score wriuen in advance would impose constraints on the creative process
score allowed for an internal audition, for one to "hear it inside"; this was tthat many have felt to be inacceptable .
solfcge, and musical dictation became corollary to the equation: score '" . - finally, the finished product being recorded on tape, no wrillen score was
music; a good ear, a musical car allowed its bearer to rewritc the score after 'required to transmit the music in time and space.
hearing it once the code had been assimilated, but more specifically, to rewrite . " "But this approach, current at the beginning of "musique concrete" in the
aperform{/lIcl!sco~e. The power to describe musical perception was therefore lR.M, can be explaincd by a much more fundamental preoccupation. 'nlC
implicitly' granted to traditional notation. 6:R.M. W;;lS in search of an exclusively aural experience, entirely freed from
Three factors have stimulated the reappraisal of the traditional functions of ·}th.e~search for the material causes of the musical sound. The fact that even a
4 LUUI~1:.lJAI{II.:i-'\ am] H:.AN O!;.Ct\1<.11.:. 1\ ~)~JLM UI- NV1,\IIUN j'Vl{ t:.Ll:.Cjj{U-I\LUU~jICMUSIC 5
"descriptive" score was rejected also implies that "classical" methods of needs of a copyright society or whether it constitutes an indispensable com-
musicological analysis were contested. plement to the instrumental score (or mixed music, this type of notation holds
no artistic or musical interest whatsoever.
(2) Other composers, morc often identified with "electronic music", have
produced performance scores in spite of the fact Ihat they were no more (4) The last category is related to the search by contemporary musicians for a
necessary than (or "musique concrete". These scores arc all manifestly visual representation of aural perception. Such a score relies on equivalence of
"prescriptive"; moreover, thanks to the slUdio-laboratory tools themselves, it sound and graphic or symbolic elements: in fact. it is a transcription. Kar-
seemed justified to hope for a level of precision such as developed in accidental koschka (1971) insists on the important relationship between the eye and the
musical notation with unequal perfection. The firSI scores, amongst which the ear: in his opinion, a score of the acoustical parameters or of the technical
most often quoted is" Elektronische Srudie 11" by Slockhausen. were meant to means of a given piece could nOt only be of no help in understanding the music,
be althe same time "prescriptive" and "descriptivc" and "Swdit· 11" docs nOI but even work against it. On the conuary, a complete and careful description of
constitute a break from the traditional score on the contrary! Frisius (1978) the perceptive aspects helps the auditor to concentrate on some element or
demonstrates how this kind of score was appropriate for the early stages of other, and to discover more rapidly the many facets of a piece: and this all the
electronic music (we could extend this to umusique concrete" in which more when the music contains complex and new elements as in electronic
"Tjmbr~s-Durees" by Messiaen would be equivalent to "Smdil' Jf'): genera· music. Research by B. L. Fennelly (1969) presents obvious musical interest.
tion of sound material playing a much morc important rolc than thc succc~ive One can hope that such a system, its symbolism, its conventions (and perhaps
electro-acoustic transformalions which 3re applied to Ih~ sound matcrial. its measuring devices so sophisticated as to acrount for physical parameters as
As sound processing devices (especially the voltage·control devices) be- well as their p<.'rccptual dimension) will be unanimously approved and will
came more numerous 3nd more sophisticatcd, transformations became musi- become a truly analytical tool.
cally essential. As a maller of fact they could bc considered as onc of the mosl
specific aspects of electro-acoustic music. At Ihe same time, the acoustical Let us return to the performance score, since it constitutes the object of our
description of lhe signals lost most of its musical interest, and composers research. A wide range of definitions can be applied to electra-acoustic music.
resolutely gave up on a realization score that would be at the same time a Classifying as electro-acoustic any music in which sounds go through electro-
listening score, or a "descriptive" one. The most striking examples of this acoustic transmission devices before reaching the ear of the listener, seems a
attitude are the scorcs of "Essay" and "TermillUS" by G. M. Kocnig. (See liltle far-fetched. At the other extreme of opinion, Francis Dhomont (1980)
example lA). says that "electra-acoustic music is not a new instrument, or a kind of super
Musicians became conscious of the fact that in spite of extrcme differential electric organ. It isn't the latest and most sophisticated in the string-instrument
sensitivity in the human ear, musical performance itself allowed for and evcn industry... it is a fundamental error to consider the synthesizer or the computer
demanded wide margins of tolerance. AI thc samc time thc measuring instru- as an instrument: electra-acoustics is a field of investigation ... and what must
ments used as sound generators and sound processors in the early studios precisely be well understood is thal we 3re confronted with a specific mode of
became musical instruments: the modules of the modern synthesizers. They thought (I).
gained in musical spontaneity what they lost in scientific precision. Thus.
notating means of production rl1thcr than acoustical rarameters was certainlY:l Wherc do we stand between these two definitions? The synthesizer is used
more fruitful choice. by some groups of popular music, together with and equal to the piano, guitar
,
and saxophone: it is truly an instrument, an electric organ. Traditional notation
(3) Another type of score is the reading diagram providing visual points of suits it, as it suits classical organ. The musician needs only a mnemonic diagram
refe.rence which enable the reader to follow the temporal evolution of a work
recorded on tape. The utilitary nature of these diagrams differentiates them
from the following category. Whether it is a "ghost" score destined 10 fulfil the (I) In french: Penscc specifique.
(such as the cards provided with the synthesizer AKS by EMS), to represent his to minimize the "school-homework" character of. the piece and encourage
"patch", his links between modules and positions of the control knobs, in some form of musical expression;
short, like the register stops of the classical organ. Let us only say that this kind to make the students as autonomous as possible and encourage them to find
of graphic representation is most of the time related to the make and model of their own solutions to the practical problems arising when a prescribed
the synthesizer. arrangement had to be realized even if not described in all its details.
Long before popular musicians, composers have designated as "instru· ,:> Pulling together all these objectives forced us to face the very concrete (and
ments", groups of pieces of equipment that have become modules in the not theoretical) problem of notation and prescriptive score forelectro-acoustic
modern synthesizer: the filter and the ring modulator which transformed the music, It wasn't a mauer of devising a notation for onc piece of work; we had to
square wave and the human voice 10 the point of making them unrecognizable, find a system capable of adjusting to the "classical" techniques as well as
could be considered like the resonance box and the bridge of the violin which, adapting to actual and future technological developments. In addition the
acoustically, give color 10 and make more complex, the sound generated by the system had 10 be more than a manual of instruction, a recipe book; it had to be
bow on the violin string. In this regard and to continuc with the comparison, an aid to the student-interpreter who analyzes the technical gesture, who looks
written notation would be a kind of instrument-making treatise. Once the for the composer's musical intention, who uses a model to be completed,
instrument is fabricated, it is assigned a role in the musical score. modified and even surpassed.
This is not every composer's idea and for many others, the idea of trans- The system dcveloped around many discussions, confrontations with sco-
forming a source through a filter or a ring modulator is truly an operation, a j res of known works, questionings and new beginnings. Now, we find it opera-
musical writing technique, such as inversions, transpositions or tonal modula- tional and the results obtained in the pedagogical context are sufficiently
tions were in traditional music. ~atisfying to be offered to a wider audience. It remains tentative and we hope
With regard to notation, this conception is certainly more demanding than that others who share our preoccupations will consider it, comment on it and
the preceding ones. If the notation used proves satisfaClory for it, then it will help us to perfect what should, before anything else, be an instrument of
certainly be satisfactory for the first two, communication.
No matter which aesthetic criteria of musical language, it must be recog-
~.!
nized that techniques and devices used jlre very closely related: common
notation for the realization of a piece should present less difficulties than a PROPOSITION FOR A NOTATION SYSTEM
"descriptive" notation. This idea is not a new onc and an important step was j
r
taken at the Ghent International Conference of 1974. Composers present at We shall consider a piece as a set of imerrelated systems, each having its own
the electro·acoustic workshop made a valuable proposition and we would still finality. Three types of finality correspond to the technical steps 10 be taken:
do them justice in saying that this was a beginning, a rough sketch devised (I) The production of sound materials
during few days of reflexion. (2) The lemporal arrangement of the sounds and the mixing (intensity rela-
Before elaborating on the system we propose, it is important to specify the tions and spatialization)
context which stimulated further renexion. Our main preoccupation was the '> (3) The diffusion in concert
structuring of practical workshops for a course in "Electro+acoustics" designed 1 '1..... , It should be noted that a pyramidal relationship exists between these steps
for musicians but not exclusively for composers. We had many goals and the of the realization of a piece. Wc can say that I is a sub-set of2 which in turn isa
most constraining were: sub-set of 3.
to have the students experiment in a studio, most of the "classical" and the
recent techniques in electra-acoustic music:
to avoid being unfair to non-composerstudents who so often felt "empty" in
·front of a "blank pagc" (in this case, a blflllk tapc); for this reason they all
had to be cast in a role of interpreter;
8 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 9
t
~., Chart 2
ELEn£NTS~:'-' SOURCE SET
TERNARY PIECE
-"[111551011 DEVICE
SYSTEII PERFORIIED THE PRIMARY SYSTEM (PS)
3rd SHP: PRESCRIBES -THE TECHNICAL OEVICE
III CONCERT -THE SCORES OF ALL
T5 IIUSICIANS AND/OR OF oi A. THE ELEMENTS
THE TECHNICIAN-DIRECTOR
AT THE II111N6 CDNSOLE . The constitutive elements of the system are:
',~, (1) The source
~~ (2) The transformer
-.;. (3) The former
Chart 1
, Although this list will possibly be modified, care should be taken that each
""'T 2 THE PRIMRY SYStEII new piece of equipment be classified according to the set and sub-set which
, correspond to its main function.
ElEIIUTS nEFllIlTIOH srt COMTEIfT I a..ASSIFlCUllIl
2.1 The source·set ami ifS sub-sets
EIUmHS El£llENT OF THE SYSTEM SAl SYIfTlETlC
""'Ct SI: TElECOIlllUlIlCATlOJS A primary system may have as its source, either one (or several) primary
SOOHD nATERII'll THAT VILt BE se: ACOUSTIC source(s), or the result of another primary system. (Later we will introduce the
SET TRANSFORIIED. ps: PRlIlARr SYSm OF LOWER
INDEX. concept of index).
Primary sources belong to three categories. They were classified according
totheir nature. We have chosen these types of primary sources because of their
ElEIIENT THAT 110DIFlES THE SOURCE TA: VOLTAGE COIlTRDllA&LE
PRllCESSlJ.lIS recurrence throughout electro-acoustic works.
TRAIISfORIIER IIUST HAV'E AA IHf1JT AND AN OUTPUT TI: NON VDLTMiE-COHlROLLABlE A. Synthetic primary sources
PROCESSlMIS
SET TIlE OUTPUT IS ALIIAYS TC: '1lUSlllUE CONCRUE'IIAHIf1JlATIO!CS B. Primary sources coming from telecommunications
AM AUDIO SIGNAL AKO PROCEDURES.
C. Acoustical primary sources.
Now we will consider the elements described above as sets, themselves com- :"I: and the manner in which they are used to manipulate or transform the source.
posed of sub-sets. The specific pieces of equipment or modules are the ele- These manipulations come mostly from "musique concrete" and have become
ments of these sub-sets. Because these elements might change and because classic procedures in electro-acoustic music.
some will appear while others will become obsolete, their listing (Chart 8A and
8B) will be regularly revised.
12 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 13
2.3 The former set
SC-30'" 3
The former is a functional concept grouping different types of equipment S: Primary source
classified under three sub-set headings: C: Acouslicnl
A. The "pure" former. This is the former that produces the voltage that 30: Humnn produced sound
will control the source or the transformer of the system, i.e. the former which 3: Laughter
does not need a source. However, il can be triggered off by:
a source TB- 15
a trigger
T: Transformer
another former
B: Non V.-c.
B. The detector. This is the former which extracts from onc of the para. 15: Parametric equalizer
meters of a source-signal applied to it, the values which allow it to generate the
control signal. (The source-signal can be an audio signal or another control TC-16
signal).
T: Transformer
C. Any sOllrce or transformer output which can be used as a control si~nal. ,
C: ManipUlation
Precisely for this (unction, these elements then lose their property of source or 16: Speed controller
transformer; they must be analysed as part of the former-set and arranged
accordingly on the score (see p. 23, and example 2B). FA-12
F: Former
3. The code representing the elemenls or the PS} A: Pure
12: Envelope generator
Each piece of equipment, module or manipulation is identified by a code.
FB-II
The code has the form: Cl C~ - x-*, n F: Former
B: Detector
Cl : a capital letter indicates the set (5- T-F)-
11: Envelope follower
C~ : a capital leller indicates the sub-set (A-8-C)
x : the number indicates the precise element, according to the classifica-
tion (Chart 8) The code is useful for the analysis of the piece, or to place on a score the
n : whcll several elements have the same code, we assign a number to this symbol of an clement specifically described on another "index-card" (see
code. (This is not pan of the classification and applies only to a below, p. 23). It also avoids unnecessary symbols, for example, S8-10 signifies
particular piece.) a source on a record, the turn-table is implicit :lIld needs no specific symbol.
Acoustic sources will always be represented by a code referring to a precise
description given on the bottom of the "index-card" or in a complete list of the
Examples
acoustic sources al the beginning of the score.
SA-1O
SA: Primary source 4. Levels or (ormaliz:.IlioR (Sce chart 4)
A: Synthetic
10: precision sinus generator There arc two levels of formalization of the primnry system.
14 LOUlSE GARIEPY <lnd JEAN DECARIE 15
4.1 Leve/I;
The elements of the system are represented by the generic symbols (capita(
letters) used to establish the code
The audio signal is indicated by vertical arrows
' " ,
~,
",
[>1.,..
~
>
. ,
o
4.2 Level 2:
The elements of the system are represented by specific symbols and links which
clarify the relationship between the elements.
All the electra-acoustic devices, including the Typ!; C transformers, are rep-,
~
,
,
• ,
& Er
resented by specific symbols. The most important aspect of a symbol is its ! "
··
"generic shape" which identifies the nature of the element (source-transfor-
mer-former) and its action.
A good number of specific symbols were determined from these generic~
[) .1
,
shapes. Their complete description can be found in the Appendix 2.
The symbols may be modified and/or completed when those described in
~
~
,·, ,.," J
·,
··, ",~,
Chapler IV do not appear suitable for a required device. The technical action
of this device should be analysed and the new symbol should respect the 1 "
,, .
(ti·,..
generic form rule. In any event, the composer will have to give a complete list ' < •
..... ,:.
' .. u.u_.
of the equipment to be used at the beginning of the score, the corresponding
··
j .:.r-~!!
symbols as well as the modifications added if such is the case, and sometimes "
,
even the name of the manufacturer of the equipment.
,
In turn, the technician who wishes to perform an electro-acoustic score ;~
might have to use other pieces of equipment than those prescribed, as long as
_.
" ~
~-----_._--='."
~
18 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTlC MUSIC 19
5.1 The lape recorder ,
1
Because of the many uses of this device in electra-acoustic music, it calls for
special consideration. ~
Audio signd
(a) as a passive reproducer of previously recorded source(s) or system(s), !I
needs no specific symbol. It should be enough to write the codc(s) of the
source(s) or systems(s) on the score. Control sign.1
(b) if the result of a system must be recorded, because of subsequent
treatment, the composer will use the symbol TC.IO. b
(c) The same symbol will be used for Iype C transformations, with specific
adaptations, if the source to be transformed is on the tape (forexamplc editing; 0( •
inversion, loop).
(d) When a type C transformation requires the use of onc or morc tape
recorders and the tape is not supporting the source but an active part of the
transformation, the rectangular shape becomes a square. The tape itself is only Addition of signah l.udia or
partly represented (like the tape delay) or completely eliminated (like the tape contrail tourd the sur input.
echo). This prevents overburdening the symbol, the links often being execs--
sively complicated.
will be treated as variable links, and will be shown on the score only if they arc
active in the system.
The symbols will be adapted to the number of inputs and/or outputs. (Fig.
only gives two simple examples).
8. The parameters
The intensity is indicated on the output link of the specific symbol (even if,
on most synthesizers, the control faders are physically located at the input of
the following module).
Must of the time the fader is implicit; it will be represented only if its
adjustment needs special care (Example SB) or if it is to be tlclive in the system
(Example sq.
The PS code contains indications about its nature and its relation with the other . ,•
·..
~
• 0
<~'"
Note that the transformer is always primary.
The index itself is not necessarily related to the complexity of the system.
Technically. it traces the number of steps neccssary for the production. In this ,i
22 LOUISE GARJEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRa-ACOUSTIC MUSIC 23
sense it often depends on the available equipment and the ability of the former. The letters A.8.C. represent the different categories defined abovc. If
technician-performer; if he is able to, nothing prevents him to realize two the set contains several elements, "and/or" must be read, instead of the
successive systems in a single step. comma (,).
.
f, ~,I,t, ~Si_1
C. GRAPHIC NOTATION OFTHE PS: THEPRIMARYSCORE(Fig. 2)
S, A,l", ~S'_ ,
I
The primary score is made of a set of cards, each representing a primary system
I:A,I" 1: ~
(PS). PSs arc formalized at level 2.
A card contains:
mEl !lP( 1
~
F: A,I,e, 'Si-! 1. The code proper (as explained in B)
Is: , I
~
2. Reference
1: A
This information is most interesting in a pedagogical context. A reference
index contains the cards representing the "classical" systems. Some of them
mEl lifE •
I f, ~,I,C, are transcriptions from known pieces of composers and the reference makes
" I.t.~"
'1 ,.1/", ,2 '1
" 1nl'!"
,I ondl" ,Z '1 I '5'_'1 explicit "quotations" possible. The reference code contains no index because
rI, ~,I,e, PS I_d 1 s: ! we think that often a system preserves its identity even when the source is
modified. (Example 3).
j F: ~,I,C, '5 h 1 [ ;, l,i,e, '5,-<1 )
1: ~ ~J ' ~( I
L ____ ~ ____ J
24 LOUlSE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO·ACOUSTIC MUSIC 25
3. Description or Iille
I 1. Cooe I While consisting of an important quantity of modules or pieces of equipment,
some systems arc characterized by one particular device and it appears inter-
2. REFERENCE
3, TITLE OR esting 10 emphasize it. But often, the composer (or performer) wishes to give a
DESCRIPTIO name to a system which evokes the sound content better than the code does.
(Example 5C).
This constitutes the score proper. 1 It is laid out according to cenain rules which
r - - -- - - - 1
allow rapid visualization of the functions of thc differcnt elements.
The now ofthe diagram reads from top 10 bottom. 8 The source(s) are to the
r - - -- - - --,
FORMER SET
SOURCE SET
I
I I left of the upper corner; lower down but still on thc left, is the transformer set.
Thl: furmer ~et i~ un the right and its symbols, if possible, arc plClced slightly
I
I I I I higher than those of the element(s} on which it operates.
I I I The arrangement is rather imporlanl. It avoids confusion as to the audio
I
I I I nuw e:,pl:dally when the furmer so:t contains a PS. The arrangement clearly
I indicates that the audio content will not go through the device,that is, it will not
L -- - - -- --.J
I I be present whether transformed or not in the sound result of the given system.
I (Example 28).
I
- - - - --,
r - TRANSFORMER I I
I I 4.1 u~·C!
of lubd\'
SET I I
If a card-score cannot include all the elements of a complex device (represen-
I I L ------- ...j
ted by onc PS), a label (a capitalleltcr inside a circle) enables onc to continue
I I the scorc 011 a second card. It is impOrlant 10 avoid confusion between the
I I concept of index and of label. The second card is pan of the same PS which
I I retains its character of autonomous functional set.
I
L_~
JI
4.2 The (uJdress
4.2 ADDRESS
6. STORAGE
J An arrow indicates each PS output and it is pointcd towards the squarcs in
which each one'scodc is written. From the squares, other arrows lead to one or
several other squares (address(es» containing the codes of the systems (pri-
5, VERBAL INSTRUCTIONS mary or secondary) in which sound materials produced by the PS will be
[IME DEPENDENT ACTIONS
XTRA INfORMATIONS re-used.
5. Verbal instructions
Even if the use of codes, symbols and conventions enormously reduces the
amount of verbal indicalions, the laHer often remain necessary, either to
explain the author'~ intent, or to disclose timc dependcnt actions. Thus. onc
FIg. 2: The card-score; PS
26 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 27
can find on a PS score elements proper to the secondary system and time is then
represented on the horizontal axis (Example 5B). CHART 6 THE SECOMDARY SYSTE~
Furthermore in the same space, one will always be able 10 utilize elcmcnlS
proper to Iraditional notalion: melodies. chords, rhythms to be played on the ElEIIEKTS DEFINITION SET CONTENT
keyboard or with the aid of a scquencer.
EIIITTING ElEII~T OF THE SYSTEII PR1IIARY SYSTE~ OF ANY IMOEI.
SlllRCE
6. Storage location SuUHD IIATERIAl THAT WIll BE PR1IIARY SOURCES AS DESCRI&ED iH
SET HEA~D IN THE FIHISHED PiECE. THE P~IMA~Y SYSTEM.
This information is written in by the technician-performer and is only used 10
locate the system quickly, once it has been recorded on a tape. In the same
manner, 10 avoid any confusion, the code oflhe system should be written (or 'COM-PDSI1I0H' - EOiTlN6
PROCEDURE - SYNCHRONIZATION
spoken) on the tape. (iN THE fP.OPER IIEANIN61 - SPACIAlllATION
SET - DVNAMIC PROFIlIN6
Chart 6 OTHER TRANSFOPJlATiOIlS AS
D!SCR1~EO IN THE PRIIIARY SYSTEM.
Il THE SECONDARY SYSTEM (SS)
The primary system corresponded 10 the description orlhe production stage of
the sounds of a piece, usually preserved on an audio tape. 2. The lrans£ormalions
The next step consists in the temporal organization. The sounds arc or- Editing and ~ynchronization need no specific symbols. They are graphically
dered on separate tracks, (preferably on a multi-Irack t:lpe recorder); then represented on the secondary score.
comes the mixing: this includes designing the dynamic profiles, the spatializa- The processors used in this stage of production nevertheless retain their
tion, and most of the time, more processing. primary character and arc represented by their specific symbols as described
These considerations are theoretical. In practice, the systems (primary, for the primary system.
secondary and ternary) are never so clearly separate. Thus. 10 skip one gener-
ation the technician may well decide to send the result of the last primary B. THE CODE OF THE SS
system of a sound material directly on one track of the multi-track tape- It is in the form: SS - i-x '*'np
recorder, where it is required by the secondary score. In the same manner, if 1. The index (i):
the dynamic profiles devised for the material arc 100 complex to be realized is determined in the same manner as the primary system: an SS of index 1
when mixing all the tracks, it can be done when the signals arc sent to the contains only primary systems and/or primary sources. An SS of index i>!
multi-track machine. The same goes for panning. The composer will want to contains at least one SS of index i-I.
avoid redundacy on the score. If the dynamic profiles and/or the panning 2. The second number (x): represents the number of tracks necessary for its
instructions appear on the primary score, these should not recur on the realization.
secondary score. The disadvantage of this is that the secondary score is then 3. The third number (#n): distinguishes between SSs with the same index and
rendered less useful as a reading score. (Example 6 A and Bl. the same number of tracks.
4. The power symbol (#np): identifies the different outputs of the SS. For
A. THE ELEMENTS OF THE SS sler('ophonic mixes,
The elements arc: 1 is used for left
1. The sources 2 is used Cor right.
Generally, they arc PSs already recorded on tape (except in the case of live
music) or primary sources.
28 LOUlSE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTIC MUSIC 29
Example: $$-03-16 *2 2 Chart 7
SS: Secondary system
03: index i =: 3, at least onc track is filled with an SS of index i=2. III THE TERNAR Y SYSTEM (TS)
16: 16 simultaneous tracks arc required.
2: This is the second 5$-03-16 The ternary system corresponds to the concert performance of the electro-
2: This code is for the left channel output. acoustic work.
As wc have seen for the PS, the code indicates the intention of the
composer. The technician-performer lllust stul!y the score and do..:ciJc, depen- A. THE ELEMENTS OF THE TS
ding on the available equipment and on his own competence, whether inter- 1: the source(s) to be emitted
mediary steps arc necessary. An SS meant to be mixed in a single step on a 2: lhe emission device
24-tracks tape-recorder (55-01-24) might be realized as an 55-03-16 in a
morc modest studio. B. THE CODE OF THE TS
It has the form: ST - T - x X Y
C. GRAPHIC REPRESENTATION: THE SECONDARY SCORE 1. Syslcm typcs: T"
The secondary system is what comes closest to the traditional musical score They arc related to the source-set of the TS. Any source-set can be classified
and has therefore caused the least problems to the composers. The arrange- within one of the following combinations:
ment wc suggest seems quite "classical". (Example 6A and 68). I - Magnetic tapers)
The score is divided in to more or less large spaces, depending on what is 2 - "Live" electronic sources
needed. These spaces represent the tracks carrying the PSs (or, on occasion, 3 - Tape{s) and "live" electronic sources
primary sources). 4 - Tape(s) and acoustical sources
The PS (or source) code is entered in a space, the extreme left of which is 5 - "Live" electronic sources and acoustical sources
placed in a location corresponding to the beginning of the sound. A direct line 6 - Tapc(s), "live" electronic sources and acoustical sources.
indicates the duration of the PS on the track (even if mixing brings the system
back la silence before the cnd).
Immediately underneath, one finds indications for panning and if neces- CHART 7 THE TERHARV SVSTEN
sary, the other processors, which could not have been used directly on the PS.
Finally, one finds the dynamic profile proper to the material of this track. ELENEHTS DEFINITION SE! tDNTEIIT
The levels are specified on the vertical axis and the composer should indicate
what degree of precision is required (the levels could merely indicate an ENITT/IIG ELENENT OF THE svsm SECONDARY SYSTEMS
intention of relative intensity and the performer should modify the levels to SOURCE OF ANY INDEX
take into account the masking effects due to the juxtaposition of individual SET ILI~[ AIID/OR RECORDED!.
intensities on tracks).
Time, marked by short dashes above the first track, is only indicated by
numbers when an event begins or ends. The mixing score can be divided in LAST TRANSMISSION LINK - mUt6
ENISSION
section: time indications might follow the preceding section or sturt again at or TItE PIHE TO
- AMPLIFICATION
point zero. DEVICE THE LISTENER
- TRANSDUCTION
30 LQUISE GARJEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTIC MUSIC 31
... ,.......
Example:
TS-03-3X2
•, [lJIHl]I[ WtU
pUlelle , .,
la ... I• Tt " I • .., Tt muusm
IUllSfDWllllll If ICTIlIlI!l Ill[ UUWlt, WIg
,,,,i<l...
TS: Ternary system
03: Third type: consists of tapes and electronic source(s) ..
~'ID
it-ll
,
••• IlQIUl
..11. "j"
j ... l""'ot ...
""ltl·luo<ll.. " .... It ...
1.",,101'
f~'la
I~·ll
U·ll
JA·lJ
1I-11
L..·,,,.llll...
HI ...·'U1 IlIt...
1.1IlI·,.u 11Ih..
"W Hit"
ir.,OI< .q•• Il",
...,..
,.,
~'!I PI.t "I" ,.""1.. P."..I.. I, .,"11"..
3 X 2: 3 independent tracks, each emitted by two speakers (thus 6 11-11 loll ••••1.. 1'''''1''
11- "
IlMSFMMIHllI IT M:1ID11 01 THE wtIlUIIE
speakers in all). w.n f!\!! JEucOMltNlQIIDn
More complex systems arc to be found. As for example, two channels being
sent to one loudspeaker each, and two others sent to two loudspeakers each:
...."
...
IHI
!Ht
ltJol. , . . . ~t<I .. I"' ...
1"1 •
1.I.. hl ..
41.~
,..
lll-ll
...n
\Iolt"!. ' .. 1.... 11 •• uOllli ...
t..,,,,,or
hI·.....
~1'M::"ln •
,......." I.
lol.I.IIl'
,...,. UlIllli ...
(2 X I) + (2 X 2). k sm.ms
, .,
ICMIIt-'l "'ltl'l' UlIlili ...
I
~l .. t .. ",1I<'J _lit..
.
_UI" .......... li,,1I1 f...~...'1 llI/t...
(Example 7).
k·. IIIaaIO " .... tcl . _ . 1..lu, H TUlI5fMMIlCl If M:II. III 11( rMS£
Since type 6 system corresponds 10 the most diversified combination, this is the ~
...11 •• i ....1....1
~ll .t~ ........ It-.a IIKI..........Ii..1 ' ...." ... 1..
one we will refer 10 in the following paragraphs. The score for a less complex 11·11 1"Ud .....ril.. ot...
111-11 "'dO; .~... oIIUI...
fl.-13 litHoI I."r
system follows the same principles.
,..
fl'll 1..... 1....., Ilh,
The ternary score consists of two parts corresponding 10 the two elements: fUIISFORIItll1lll IT Km. Illl Ill[ IWflOII
fNO
11·'1 Ir~l;:lltj.:S:~~:1:;.~::;::~j",
1. The sources
The upper part represents the relation between sources. Each source being
identified by an SS code (PSs being written on the secondary score of each TESTING THE SYSTEM: A PEDAGOGICAL EXPERIMENT
musician, they do not have to appear on the ternary score).
Atthe mixing console, the technician-"director" is also identified by an SS We havc seen at the beginning how the idea of this system arose on the
of which the index should be higher by I than that of the highest index of the occasion of research of pedagogical nature, Again it is in this pedagogical
musicians' SSs. context that we have somewhat found our first laboratory. The experiment
The score of an "acoustical" musician will be wriuen with an appropriate allowed the verification of some hypothesis.
systcm, probably accompanied by a reading graph of the electronic scorc. First hypothesis: bccause of the system, the technician-performer can
The codes of the "live" SSs arc written in the squares, the codes of remain totally autonomous in relation to the composer.
previously recorded SSs are written above the tape-recorder symbols. The students, alone or in groups of two, received index-cards to be rea-
lized. If they feltthcy needed it they could consult the class-assistant who in
2, The emission device this case was also one of thc designers of the system, In spite of the fact that
Thc lower part of thc ternary score uscs symbols specific to the emission devlcc they were beginners and in spitc of the fact that generally the cards are not very
and illustrates thc geographical position of the musicians and/or equipmcnt, explicil with rcgards to thc real conncxions to be made betwecn the different
and if necessary of the public. picces of cquipment. we noticed they wcre more independent and better still,
As for the primary and secondary scorcs, verbal instructions specify emis- morc cfficient: in a few hours a week of studio-time, they wcre able to explore,
sion conditions: the intensity, the height of the speakers etc.,. systematically and in depth. a great number of electra-acoustic writing tech-
niques. some of which werc truly difficult to realize.
32 LQUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 33
10 different situations or new techniques has really been rcached. making the effort to learn the vocabulary, assimilate the production tech-
We believe several composers will adopt the system, although 10 different niques, and thus understand better the "specific thought" of the electro~
degrees. For some, it will serve the purpose of a short-term mnemonic aid; acoustic composer. They will then be able to transcribe musical works, either
studio-lime is precious. For others, it will be useful for discussing or explaining from already existing scores or with Ihe collaboration of the composers, and
an original device used in a piece. Obviously, for a composer who has no desire doing so, help eleclro-acoustic music emerge fram the "ghetto" where it seems
to communicate with an interpreter and who prefers to produce the work on a to have been confined since its very beginning.
audio tape, writing a complete and detailed score might seem fastidious. BUI
upon examination of some scores, such as "Te/emusik" or·' Essay", it appears
that for some, the performance score is really important even if it was written NOTES
after its realization and even if the piece is not really meant to be produced by
anybody else. 1. Thcse elemcnts and especially the neologism "former" (formeur) were borrowed
from B. Durr (1978).
For other composers, the idea itself of a device is a musical starting point.
2, In his analysis of Tumitlus by Kocnig, Frisius (1978) makes a distinction between
Between his original project and the final version, the composer might want to transformations and synchroniutions. This distinction was, however, impossible to
preserve a wriuen trace of the evolution of his systelll. Wc have ohcn rcpeated maintain, given the logic of our system. Even a linear addition can only be a
how this aspect was one of the most fascinating in electra-acoustic music- that transformation.
is, the aspect of the interaction between the initial intention and its implica- 3. Wc ha"c not used codes to £iesignate the elements and thc systems only in order to
appear "scientific", Letters and numbcrs correspond to parts and elcments of
tions and the manners in which they were worked out in the studio,
clcctro-acoustic works (for example Frisius' analysis of Terminus (1978)) as in the
Finally, musicology is onc of the fields in which a normalized system would anaLysis of classical pieces (for example, A-B-A form). We have no vocabulary
be the most appreciated. It is probably not by choice that most musicologists similar to that of classical music: movements, themes, coda. A neutral code is more
have worked mainly on listening scores. Let us quote J, J. Nattiez (1976) who, apt to be unanimously accepted since technical gestures rather than formal struc-
speaking of semiological research applied to e1ectro-acoustic music, rccognises tures are the object of our notation system.
4. The question of symbols is important and was the subject of much reflexion. We
that"the esthesic, that is, perceptive explanation will only be poS5ible if we are were not Irying to inno"atei on Ihe contrary, the more familiar the symbols, the
in possession ofa matcrial description of the piece, thal is, ils neutral analysis."' beller chance there was that the notation would be understood and accepted by
(p. 103) composers. But there existed no unity among symbols already in use, in relation to
[n the same way. Rudolph Frisius (1978) demonstrates very well how a the physical reality represented:
listening score, even though very precise, does not really do justice to a whole - some, inspired by the notation used for electronic circuits, clearly referred to the
moill e1eclrOl1h- componel/l, (For example. a triangle (in reference to the transis-
scries of structural informations, some of which are analogous to those of tor) for the amplifier).
traditional music or those of cOnlemporary instrumental music (voice pro- - others were inspired by theulefllal sllopeofthe device (for example, the speaker)
gression, eounlerpoint, clusters, etc.... ) and others, specific of the type of - still others s)'mbolized the action uf llle device on the signal (for example the
music. "Wc need notation symbols, not only to represent a synthesis of sound Irapeze for the envelope generalor).
complexes which come fram relalively simple sound materials. It is just as Should we have chosen only one of these possibilities?
Furthcrmore, should we have climinated the lellers identifying modules and equip-
significant to observe that with a complex basic material, important parts were ment? In our opinion, the notation proposed at the Gand conference made excessive
retained; in other words, that the analysis can also be the first step in composi- use of them. And all the lctters were taken from the English names of the equip-
tion" (Frisius, 1978, p. I L4). ment. It seemed advisable to reduee Ihis praclice to a minimum, To avoid mul·
It is clear that these two dimensions (synthesis and analysis) arc absent tipl)'ing symbols, we have sometimes retained the use of lellers inside some of the
from a listening score, symbols (for example for noise generators, or complementary devices such as the
compressor and the ellipander, or for comparable devices, such as Ihe envelope
Thus. it seems highly desirable that the teaching of electra-acoustic writing follower and the integrator.
techniques should become accessible outside the exclusive composition con- We believe composers should choose lellers corresponding to the names of the
text. It appears quite certain that musicians will be amenable to the idea of equipment in the same language as that used for verbal instructions.
36 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTlC MUSIC 37
The biggest problem consisted in finding proper symbols for all devices. 11 seemed Les principales caracteristiques en sont:
impossible not to forget some; there was the risk of introducing uscle.ss symbols for "'- (1) qu'il repose sur une analyse approfondie du "geste technique",
rare or obsolete devices but mostly we could not predict the arrival on the market (2) que chaque symbole est issu de regles qui penneltc:nt la creation de nouveaux
even in the short-term of new pieces of equipment. symboles faciles a integrer au systeme,
Thus it appeared essential to cstablish the fabrication mh' of the symbols. This rule (3) que la disposition des symbolcs sur la partition facilite la "lecture a vue" en mettant
was based on the functions proper of the pieces of equipment. The number of en evidence le role propre de chaque appareil du dispositif et le nux du signal audio.
physical parameters of sound is limited. It was possible to identify a few large Quoiqu'entreprise dam un contexte pedagogique, ceUe recherche a donne naissan-
categories to which all devices could be related. .. ce a un oulil qui pourra ctre utile tant aux musicologucs qu'aux compositeurs.
Once this rule was established, forms were chosen accoruing to three criteria:
they should resemble forms often used by composers
they should evoke their action subjectively ACKNOWLEDGMENT
thcy should be easy to draw by hand (lhis is why wc have replaced the cirde, often
used for generators, by a blason) or with the aid of a template. The authors wish to thank the University of Montreal for its financial support to this
5. This follows the proposition of the Gand Conference. However, we must say that for research.
many processors recently arrived on the market, separation of their constituent We also thank the many students who helped our experimentation by their active
parts is difficult. if not impossible; for others, it is a matter of efficiency; for this and patient participation and by their positive criticism.
reason, exceptions to the rule will have to be tolerated. Finally we thank composer Francis Dhomont for his sustained interest and helpful
6. This notion of index is suggested by Frisius (1978) who speaks of infcrior, equal or comments since Ihe very beginning of this project.
superior order (Ordnung). (p. 108)
7. We can see that the card-score represents what has oftcn been called "inslrumenl"
by the composers (Sabbe, 1975; Durr, 1976). We have avoided the use of lhis lerm BIBLIOGRAPHY
because it would more or less constitulc an interference in the musical conception of
lhe composer. The word "system" seems at once more neutral and more ap- APPLETON, D. H., Developmemafld Practice ofEleclfonic Music. Prenlice·Hall, Inc.
propriate to the kind of analysis thal has 10 be done in order to establish the Englewood Cliffs, New Jersey, 1975.
arrangement of the symbols on the card. BEHRMAN, D., Wave traill. In: Source, Music of the avant-garde, Vol. 2, no. 1.
8. Contrary to the Gand conference proposition, wc have chosen a top-to-bottom flow Copyright Compo~r/PerformerEdition, Davis, California, 1968.
(or the PS; analogy with computer-technology algorithms did nol appear disturbing; DESJARDINS4MELANCON, )., Etude critique de la graphie musicale colltempo-
on Ihe contrary; we wished to retain Ihe horizontal axis and a left-to-right orienta- raim.·. Universitc de Montreal, These de maitrise, dec. 1977.
lion for the time dimension, sometimes (ound at the bonom o( the primary score. DURR, Bernard. Le symhitileur. In: cahicrs rechercbe/musique. GRM-INA: Syn-
9. Almost all e1cctra-acoustic concerts require, as part o( the technical device, the use theliseurslordinateurs. Institul national de I'Audiovisuel, 1976, pp. 11.28.
of at least onc mixing console, their output being connected to the amplification FENNELLY, B. L., A descriptive notation lor electronic music. A dissertation. Pre-
system (amplifiers and speakers). The action of the technician-"direclor" must be sented to the Faculty of Yale University in Candidacy for the Degree ofDOCIor
scen as a secondary system, even if it is kept to a minimum in the case where a tape is of Philosophy. 1969.
its only source). Thus theoretically, Ihe outputs of this final (and always live) SS are FENNELLY, B. L., Descriptive lal/guage for electronic music. In: Perspective on
the real sources of the ternary system. However, when establishing a classification of Notation and Performance. Ediled by Benjamin Borelz and Edward T. Cone,
the ternary·systems Iypes thal should reflecl the traditions and the realities o( 1972, N.V. pp. 117·133.
electra-acoustic concerts, it seemed impossible not to consider the sources of Ihis FRISIUS. R., Zum NOIaliolls-probfem in der elektrOllischen Musik. Notation als Sym-
final SS as the actual sources of the TS. bolisiefllllg van Klu!1gverwQ/ldtschalul/. Interface vol. 7, no. 2·3 (1978), pp.
95-116.
HOLTZMAN, S. R.. Music as Syslcm. Interface vol. 7. no. 4 (1978) pp. 173-187.
HOWE. J. R., H. S., Electronic Music Symhesis, W. W. Norton & Company ine., N.Y.,
RESUME 1975.
KARKOSCHKA, E.• Ei"e Horpartit/lr dektrollischer Mllsik. Melos, Vol. 38, no. 11,
La musique tlectra-acoustique est apparue au moment ou la nOlion meme de partition novo 1971, pp. 468·475.
musicale etait I'objet de nombreux debats. EIIe mCffie suscita differentcs formes de KARKOSCHKA, E., No/atiOIl in New Music, Ed., by Praeger, N.Y., translated from
partitionselaborees "ad hoc". Les auteurs proposent un systcme de notation dcstine a German by Ruth Koenig, 1972, pp. 164·174.
la production des partitions de realisation.
38 lOUISE GAR1EPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTlC MUSIC 39
KEANE, D.,Soml! Aspec/$ ofthe Teaching of Electro"ic MIUic Composition. Interface, APPENDIX 1
vol. 8, no. 1 (1979), pp. \-9.
KOENIG, M. G., Essay. Universal Edilion, 1960. EXAMPLES LIST
MACHE, F. B., LA popUflSscrie musical/!. In: Musiquc en Jeu +33. Edition du Seuil,
novcmber 1978, pp. 35-37. Example lA: KOENIG, M. G., Essay, (1960).
MIEREANU, C, Vile musiqueelecrrQ/Jiquc el sa parr/rioll: Aniclllation de G. Ligeti. In: Example IB: KOENIG, M. G., Essay, PS-OI-DI. 1-2-3-4-5-7-8. PS-OI·OI'*'6, PS-
Musique en jell *15, Edition du Seuil, september 1974, pp. 102-109. 02-0H!' l. Transcription: Material A, section \.
MUMMA. G"All'ill Lllcier's MusicforSolo Performer 1965. In: Source. VoL 1. no. 2, '*'
Example I C: KOENIG, M.G., Essay, PS-02-01 J to 7. Transcription: transfor-
July 1967, Composer/Performer Edition, Californill. mations of material A.
NATTIEZ, J .-J., Le SlOW! sbniologiquc de l'objct sOllore. In: cahicrs rcchcrchc/musj· Example 2A: APPLETON, J. H., PERRERA, R. c., (1975), Chap. 4: the Voltage
que INA GRM: 2. le lraile dcsobjcts musicaux 10 ans aprts. Inslilul National Controlled Synthesizer, p. 165, fig. 23.
de l'Audiovisuel, 1976. Example 28: APPLETON, J. H., PS-01-02. I, transcription of 7A.
PARENT, N., Le synthelisellr: terminologie tleologique I t'lll. Ncologie en marehe no. Example 3 : SABBE, H. PS-OI-OS.3, Iranscriplion of SABBE. H. cl al. (1975).
19 el no. 20, Ed. Officiel du Quebec. O.L.F., Montreal, 1980. "Instrument" Patch Sample. p. 118-119.
PATACHICH, I., Eitle nt'ue Nolation eleklronischer Mwik. Melos Nz. Vol. 4, no. I, Example 4A: LEEDY, D., Et/tropical Paradise in STRANGE (1972), p. 138-142.
jan.-fcb.1978, pp. ID-Il1. Example 4B: LEEDY, D., PS-OI-OS.!. Transcription of 4A.
REICH, S., Reed Phase. In: Source, Music of the avant-garde, vol. 2, no. I, Copyright Example 4C: LEEDY, D., PS-OI-OS •. Transcription of 4A.
Composer/Performer Edition, Davis. California, 1968. Example SA: STOCKHAUSEN, K. H.• Tdemusik, (1969), Section 3, p. 4.
SABBE. H., STONE, K., WARFIELD, G. Editors.lmematiolltl1 C(m{cre/ICeOI/ Ne ... Example 58: STOCKHAUSEN, K. H .• PS-OI-01+1-2-3-4. Transcription of 5A.
Musical No/Utioll. Reporl, Interface vol. 4, no. I (1975) pp. 1-120. Example SC: STOCKHAUSEN, K. H., PS-OI-03*S. Transcriplion of SA.
SEEGER, C, Prescriptive and Descriprjve Music-Writing. Musical Ouarterly, vol, 44, Example 6A: STOCKHAUSEN, K. H. Tclemusik, (1969). Section 3, p. 4.
no. 2 (1958) pp. 184-195. Example 6B: STOCKHAUSEN, K. H., 55-01-11*3.
STQCKHAUSEN, K. H., ElcktrOl/iscl!1! 5rudie 11, Universal Edition, 1956. Example 6C: STOCKHAUSEN, K. H., Telemusik, (1969). Perceptive transcription.
STQCKHAUSEN, K. H., TclemrlSik UE 14807, Universal Edition 1969. Section 3.
STRANGE, A.. Elt'ctrol/ic music: sysrellls, techlliques and COll/rv/s, W. C. Brown Co., Text to example 6C. A few years ago, Marcelle Deschenes, professor of
Iowa, 1972. e1ectro-aeoustic composition at the Music Faculty of the University of
DHOMONT, F., llilleraireacousmatique. Guest-lecturer at the Faeuhy of Music of Ihe Montreal, had her students make a descriptive score ofTelemusik. None
University of Montreal, on Dec. 9th 1980. of them had seen Stockhausen's score. This example is Ihe transcription
of section 3, made by Jean Decarie. Note the visual element marked by
an arrow (the arrow was added by us:):
TRANSCRIPTIONS at time 21 seconds, the composer's score shows synchrone attacks, but
the recording lacks precision and thc tracks are not synchronc: it is
APPLETON, JOIl H.. PERERA, R. C. (1975). Chap. 4: The Voltage-Controlled intcresting to sec thal all Iranscriptions made by the sludents show a
synthesizer, p. 165. fig. 23. musical perception notatedasan "arpeggio" or an·'appogialura..... how
STOCKHAUSEN, K. H. Telelll/l5ik (1969) Section 3, p. 3 and 4. many composcrscould maintain nevcr to have changed a smallleehnical
LEEDY, Douglas. E/IlfOpical Paradise (for Buehla Synlhesizer). In Strange (1972) problem into a musically morc of less useful clement! In this case, the
p. 138 and 142. performance scorc was not changed to match the tape, and recent
SABBE, H. et al. (1975) "Instrument" Patch sample pp. 118-119. technology night allow a more precise execution of this part.
KOENIG, M. G" Essay. Univcrs'll Edition, 1960. Example 7 GARIEPY, L" Tcrnary score.
40 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 41
u.
......
~ ..... U'n,,, JI~.l ••. To"1 1.0,'b: 3a".1 en, n!lIpd"'·" ....,
,.to
rollu", I. 1 s •• <I ...., Olo'ol." 1 .. cU,."
,,-
• 1~ n./opo
.. .'..
.-
'1.0 n
11.' • &400
..
U.I
I• MO
•••
'
.........,
n.'I.. ,•• ,., .'
... .. ,,-
...
-
M ••
IH.2
1....".1.'•••• :
.. ..... ,
Jo~. hUl .......iH I £/ . . . 1_
-=--- I.
I.
".2 c.
J~'.l
.. l~.O
.•••
1.', On
I.
'.
So
t.
:HI1 ••0
112.'
".1
....._z
U",D
u/•• T. Ttt.'
: .1
,
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-'d-
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42 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECm.O-ACQUSTtC MUSIC 43
"')r~'"
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I A 1B I c DIE I f I '" H I 1N( \'lPllIJOll. Of lH( IIl[VU8(AAIION ANO TH( lUtKSlTl CUIll'l:S tHCRIB[O I. TH[
O~IGI"l.l HO,,! AA( NOUl{O IN l SttONlllllV HsnN.
44 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRa-ACOUSTIC MUSIC 45
EX.2A
EX.2B
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or
V
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48 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTIC MUSIC 49
EX.4B E1..4C
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r~_l r"..u.. t
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•, •, • •• •• •• • •
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50 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 51
;i" EX.58
li
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'1 6'l1lO
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, o 10 II SH, STAJ!T fREQuENCl[S :/ IOWO
<
, , /1: n~tpT flU Of THt FREQlUCY Of OSCIllATOR I TO; ) 11100
1 ,!
!
- < Ib- ,
·E /1.1 TO Jl,
• 111&0
SLIGHT DiIoNGtS Of THt fREOI.UCY OF O>ClllATOR 1
hJ ~. ~,
,,t , rt ,
! ~ ,1
1"'1 ®
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52 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 53
EX.5e
IIH' I'S-II-(I
srOO:KoIl/SEI
M"
I•
Illll'l'iO III
OS(. 1 f l ( Q . : - - - - - - - - '
_--.....JDL.._ _ I:t:=:=:ji--o-.:::::,."...
• , , ,
If! ~' !it 0
m ,
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• ca
•
~Ia
x
H 0==, 1=1 1"'=' 1>1
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54 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRQ-ACOUSTIC MUSIC 55
~ n~'
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56 lOUISE GARIEPY and JEAN DECARIE
,
EX.7 APPENDIX 2
DETAILED DESCRIPTIONS OF THE SYMBOLS
AND OF THEIR SPECIFIC PARAMETERS
•...u
,
~UUl(·,r.( I
I'"
, t.:71
1(11[10. TIll: lOl.OlHS or Ht[ IOIlIOlt V{IoKUS IS ""~ ~J ~:![ :(1
.IS 10 ....lAM TlI( ....slUM!>. III(!hE or "~IIf'((IlU('. W4'o(S$~
IS $IJ(;I;(U[Il. _ I lll[ lOl/tllEU or Till: "'l~ $0(0):1''' ~I'N •
*In :tOfU AI !l>E"'l11:11 lE¥'lL fOIl • ~"'l_ lOUOlU;S or Ill' (;I~
IT TH[ ~1l.RlSI SiTtING _OINTS U-I-c·g) 1"'''''IJIVO(IIS .... 01: ""'"
TilE MOll IS ( ... nl.
58 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 59
"."
P'I'CISICJI 5111US a:II(UTOR
~;"
I f","""" ''''''t....l '..,ut
lA_I
519... 1 .. utj>,,!
Eo:
1 5191'.1 .... tjlul
51_ .... ll c.. t .... 1 l""uI
f: c:..ftltr Or cut·DU fl"l'q,,"nCJ'
b.... : ',nd "tdtll (t or <><t... rr.~tlOl')
'I: (r-eSO"ioce) "~r f .... 0 to 10'
s: .1"Pl! ( ~a/o<:t ... )
'A t~HI 01
l~ 1>t9Inn'"9 of tr.. 0<0'. ,""o'd .~"" if ".'.....,
,~. t1,. "_ro
,nd t~• • ppr~,j... tl,.
r
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f: rr~qoe"'Y (Mt) f,.,,,,"oc, 'UPOl1I! tu .....
f, TA_IO ~:p~S
~
fllT(~ lA-ll ~l~-P~S fiLTER
r,~:
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1 '-1
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IUTI+RaCTlOl OSClLLATClll "~
'-' 1 !~Ul.e wldtl'l """t .... l
'-'
l .... lZ~..!l.llU l"_llllQTOl flllU
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tput
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for";_ .....
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• :~:':";:':;:~'f.'J.
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For F4, tM. POlhl.., ;, ...d tor ~ ",h. "Iclu. It)
,"p"
'-' t,I:1'" '"'I""tItY ............ Is ,I ..n
I t 1101 IlOU_ of tho co.... " ...
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OUIPut
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or ,,,,cHic 11000\"
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'l,S:_·Q.o Il;I
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60 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF OTATION FOR ELECTRO-ACOUSTIC MUSIC 61
TA_2O
YOl TAG( C()lTAOLED ""'L1f1ER Signal input TlHJ MINr, mlllJLATOR
D Signal inputs
LIMa .. control
\<,,
Jl'oollnur control
Control i oput
output
Log.rlth.lc control
Si,:"ul output
Tt-2. ~
Signal 1..,ut
1 J J
S1gnd lllflut
t
half-w.v" output
Sl,~1
input
POSitive half-w,ye
output
1A.21
Is'' ' ' TA_!l
outout
,
,
TB-26
YOllAa: Af'PLlFl(R Sign.l input
\Y
l:Th~,hold (., I Th~$hold
1: C"",r6S I on 2 hp.ns;O'l utl0
r.tio J Att.e1 tjrle(~~
J:Atuck tl..,(e) • Ileluse t11111!(J
.:Releu~ tiJne
S'9tIal output
~s7
V
'\t7' J 9; gain ( dB or rollic)
Ex:
f t
1.
62 LQUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 63
TB_)}
Z£ITRI;t;lEN (".. ~~•• f",o .. o<y,"Ht.. )
TB-.O
(l[CTRO·ACOOSTICAl R(V[RI![~A1Q'
J SI9".1 loput
,
)
, r.....t><rotion ,,- ",i\lOol output
('<cl
1 Si~n.l output
,J
( •, ')
j
c: t,,",po,ition lotto' (In , ..,Ho.. , or fund.""'nUl
r ...qwnci .. "llo)
(I " I)
TA-JI
....~AWGUl' ~]IOl S~IFT£R
,
:f,"q.. n,~ (H,)
"""'
('1"1
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I"
x-r~ 1)(1 T
TA_l'
,, ·410y ti ... nud,
<01>0 .cHt." °"\1 ""'1 Si9n.l O"\~ut
'''''trol input
d:"",.y <I ... (",)
( " P. ~.
J
Si!l".l O'\~ut
!O·4l H·.]
J I
64 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 65
"
H·l0
TAPE Il(COIlOCR
T1i-44
!l1V[RTER ,,",L1f1ER
Signal input
0_0
(phyb.c~ output)
( - ,
1 'H--·~·
I'iJ,TITRACK TAPE IUCORD(R
Signal output
h:
LJ,
"
0 __ 0
( -- ')
1
"l.e~ with ;nve~led and
non inverted outputs
1
T8-5 Signal input S COde of U,. source to t..
.OYersed. 0--<-0
T[I'(COfo'l'ItESSOR-E XP AA CE R
r" "
1
Signal output
1 Sl .... illoutput
"
r;COllP~5sion or expinsion ntio
TC-I~ I >
~
1
:-9: ,. "'"
".>0,
°' °
IHfltEGl.£R Code of IN SO<IfU DIGITAL Hit: EQK>A£SSOlt EIPNHl:Il
{lISI'd n tblf be tt"", .:>dified "coclr of the Sautee
cOIIPO"'esso
"np;wder)
J. Slgnll input
-
"I""" duratillll.H MCUSlI'7
(in s or CI01
= ,
1519",1
1 Signal output
output
"
dl HI dII: dhtlnce t.t"",en the phybllck he.d!. (dol: dlst... c.. be~n tile Iln ... 01
tM fint p.b. head) (In toO)
66 LOUISE GARIEPY and JEAN DECARIE A SYSTEM OF NOTATION FOR ELECTRO-ACOUSTIC MUSIC 67
,·
, "
"'
Tope reel
~
---- \ and the phybH< head .of the
Ex: 2 tracks Ex: 4 tr.cks , following tape recorder
,
rn- - -'"1
· ,,, ,,I
f----l. I. ,
'--
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J 1 "
Tape loop. (Bitroocdi~
"
A,
, ,
tape ,peed
"
t(
dl: dinance bet"een playback
, Ex: U
,
head 1 and phyback head 2
1 1 1
l1anipulatioo: Change slightly the speed of one of the tape
recorders by holding the reel fl.nge with the hand.
1
~
,.
.,, , 8
'First descrit>ed ~nd n• ..,d
,
h
linkS 1 .nd 2
by J.~,~rie ~nd ~. a~d~rd .r<! eHenti~l
,
~
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,
68 LOUISE GARIEPY and JEAN DECARIE
,
,,
A SYSTEM OF NOTATION FOR ELEcrRO-ACOUSTIC MUSIC 69
T(-16 , TC-,O
POTEIIT1OHETER
H-21
PANORAM POTEliT1QrlETER
iC-22
JOYSTI CK
TN'[ SPUO VARIATION
,·
,
J,
-+:""'" ,.,", f·"
Sign.1 input
,, ·
1 nput
&.
0' 0"
1'~'~"
1 ,
,,'
"
output wtput
f'·'h
wud " U.., fun _ input sHting is fixed, or 0t1 ~ gr~ph ~t the
tl"" .. rH ten .t bottorn of the card if the pann1ng (or
the bott"", of the CHd
' nputs ,
I
selectiool has to be changed during the
0 productiM of the PS
H_n
l:DllING
., '00,
", '"~
i
,! "
·
>(, Signal output
Signal
output
0·" output
A"'' '
LOUOSPEAKER
!·
I,, •, '00"'
, .'
, I, TC_41
.,
H-]] (Cont 1C-42
J DClTOR HEAtIP I\OIl E
u: 5(-30'1 ,
~ A
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0, SP_Ol_04H
SP-O,-OS!S
, i
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6
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Du"tio", .,pr'''ed in elll. ,
,
70 LOUlSE GARIEI'Y and JEAN DECARIE
A SYSTEM OF NOTATION FOR ELECfRO-ACOUSTIC MUSIC 71
FA-l0 FA_11
lOll-FREQiXHCY AANCl1H GENER~_TOR
FA_16 FA_ ])
BEHOCR__ ~_OYSTJS!.....
tJ
C""t",1 ,ign.1 outpu
1
fA_l/
EM~ElI)PE GENERATOR
Control input'
FA-20
7·,,°,"'" output
-_. -- ---.
~ Control ,igM]
outpul
,,1,-13
, freQ ..... ncy (HI)
SrQOCMCER pu!>e width
-
FA-;'l f~_~,
FA_U
FA_I~
~.,'"' 0
HIBOARO
~O}.!-_
,,
Signal input Signal input
Control ,ignol output
,,I
FB_IO FB- 11 F8-12 ,' ( , ,I \' , di
PI TC~- TO-VDl TAGE
CONVERTER
ENVELOPE FOLLOWER DYNAMIC 1Nl[ ATOR
,, \ P.O. / \ ", /
C
1-
'IV J A 0.1.
,
l,iU
,
• ,
"
rhe de13y-time
fall dehy-time
C""trol signal output
, tnreshold
d, pulse duration
Contral si gOd 1 Olltput
~
4,
F8-20 ~
,
,
>
CD C n
\ S.H. !I 9 ,
,
>
(ootrol signal output Control signal output
f
, ,
,
"
,
74 LOUISE GARIEPY and JEAN DECARIE 11Ilerface. Vol. 13 (1984), pp. 75-106 0303-3902184/1302-0075 S3.00
<OSwets & Zcitlinger
BIOGRAPHIES
louise Gariepy started her musical education in Montreal, Canada. From 1967 to 1971 The Analysis of Musical Meaning
she studied composition, electroniccomposilion and Tontechnik at the Music Academy A Theory and an Experiment
of Vienna, Austria. From 1972 to 1919, she taught musical acoustics and c1cctto.
acoustics at the Faculty of Music of the University of Montreal, where she was also in
charge of the creation of a quite sophisticated electra-acoustic sector. Since 1979, as an J05 Kunst and Henk Van den Bergh
assistant professor, she also carries out research into the acoustics of the bassoon. (I
Multi-media artist, Jean Decarie has studied video art with Serge Tousignant (painter),
musical composition with Serge Garanl and is presently finishing a master degree in
electra-acoustic composition under thc direction of Marcelle Deschencs at l'Universitc
de Montreal.
In 1979, he participated in the creation of "I' Atelier d'E.tpression ct de Recherche
Electro-Acoustiquc" (tbc Electra-Acoustic Worksbop of Expression and Research) at
l'Univcrsite de Montreal.
Already in 1977, involvcd with integrating different musical languages, a per-
formance group is born: B.I.T. (Bilateral Insanity Training).
In tbe same perspective, in 1982 hc crcated an eleclropop-group: IKo ABSTRACf
The preM:nt "rtick cun~tituh':~ the firsl report of iln empiric.,! validation proce-
dua' that ha~ been de~igned to lc~l lhe Kunsl IY78 theory of mu~ic listening.
Louise Garicpy Reviewed arc. on the onc hand. the specifications and cnrichments that have
Assistant Professor I been incorporated into the theory along the way, r<lnging from the morc so-
Faculte de musique
Universite de Montreal, c.P. 6128, Succ. A.
i phi~lieat..:J 1l1~·tath<.:()rdi<.:;t1 rram<.:\\'ork pres<.:nteJ h<..:rc up tu and including a
numh<:r of ··intuitivc·' pral:lieul rules-of-thumb meant to enhance the theory's
Montreal, P.Q., Canada, H3C 317
I, uscfuln.:ss ,IS a fal:t-finding device, and, on the other hand, the returns of the
empiric;ll le"t lh;'l ha" hcen \:llIllh.u;lcd using p,lrt of a Schubert song.
PRELIMINARY NOTE
For reasons only partly clear to us there has been, after the publication in book
form of our themy (Kun"t IlJ7Ha), less public discussion of it in musicological
t
.,
circles thun wc hud ill fir~l cxpcctc<.l. It muy bc thut our modest bit of formal
machinery has kept musicologists at bay. Our only resource then lies in Ihe
force of arguments: in showing Ih<.ll it aClually is doing something worth wile.
Thai wc cndcuvour to do once more, and specifically with respcct to a musical
I content oriented kind ofrcccption research, in the present article. Or, again, it
j may be that musicologisb are just the average lazy lot, and that, as is normal in
scientific communities. thcy arc satisfied with taking their cues from each
other. This cannot really be helped. Wc can only hope to spur one or more of
them into some heightened degree of wakefulness. Unfortunately, there arc no
foolproof recipes for doing Ihat. Finally, it may be that our publisher has been