摘要：This paper presents an analytical reading of Tinnitus and Bio-acústica, two acousmatic compositions of Rodolfo Cesar. It speculates also a musical analysis way for acousmatic music (music heard through loudspeakers). The main focus is the presence of daily sounds in both compositions, and the use of this aspect to construct an analytical typology of sound objects which explains those pieces ir his gradual sonic transformations. The main concepts for this analysis are found in Pierre Schaeffer’s idea of sonic objects and “écoute”. Our main objective concerns to uses a more descriptive way of analysis in consonance with the compositional procedures used in both pieces.
其他摘要：This paper presents an analytical reading of Tinnitus and Bio-acústica, two acousmatic compositions of Rodolfo Cesar. It speculates also a musical analysis way for acousmatic music (music heard through loudspeakers). The main focus is the presence of daily sounds in both compositions, and the use of this aspect to construct an analytical typology of sound objects which explains those pieces ir his gradual sonic transformations. The main concepts for this analysis are found in Pierre Schaeffer’s idea of sonic objects and “écoute”. Our main objective concerns to uses a more descriptive way of analysis in consonance with the compositional procedures used in both pieces. Keywords: Musical analysis; Musique acousmatique; Rodolfo Caesar; “Écoute”; Pierre Schaeffer.
