This dissertation examines the static artifacts of electroacoustic multimedia music written after the development of MIDI (Musical Instrument Digital Interface) in 1983. Static artifacts is an umbrella term I have coined for the collective types of traditional and extended musical notation, text or graphic scores, screenshots of digital audio workspaces (hereafter: DAWs), code, and so on that are non-dynamic visual manifestations of a piece of music. The digital era brought about fundamental shifts in compositional practices and notation. In this dissertation, I examine some of the varied ways that composers use technology in mixed-media electroacoustic works, considering both how they notate the electronics and how one may analyze the work taking into account the technology and unique notation.

I demonstrate methods of analysis in several case studies focusing on compositions by Philippe Hurel, Trevor Wishart, Anne Deane Berman, and Paulo Chagas, and with particular attention to their static artifacts. I draw from notation studies and semiotics to support recent theories of electroacoustic analysis by scholars such as of Simon Emmerson and Leigh Landy (2016). I also use the method of multimedia analysis from Nicholas Cook (1999) for works that incorporate visual, textual, and dramatic elements. Where applicable, I apply the composers’ written thoughts, from books or articles, to the static artifact they made for a piece of music. Wishart and Chagas, for example, have both written extensively on their own styles and on the state of electronic music and electronics in music. While I find there are more similarities than differences between the case studies, each composer manages a unique way of incorporating electronics into their music and into their static artifact. My work provides analysts with more tools for electroacoustic analysis by shedding light on the static artifact.

In this dissertation, I analyze the first and last movements of the Symphonie fantastique with respect to four layers: melody, harmony, orchestration, and hypermeter. I use several types of layer-interaction to determine points of large-scale structural significance and refer to this analysis to resolve points of disagreement over the form of each movement. Historically, this piece has been the subject of much criticism because Berlioz has mixed multiple styles, genres, and compositional procedures. Many of Berlioz's works have resisted both categorization and analysis thanks to this general creative strategy.

Chapter One defines each of the four layers that I take into account and gives two examples of the ways in which these layers can move in and out of phase. Chapter Two compares three interpretations of Berlioz's first movement: as an "arched" sonata form in which the first and second themes are reversed in the recapitulation, as a Type 3 sonata form but with recapitulation beginning in the dominant, and as an instance of Anton Reicha's Grande coupe binaire. I suggest that the Grande coupe binaire and the Type 3 sonata forms each provide a closer model to the movement than the "arched" sonata hypothesis. Chapter Three compares my layered analysis of Berlioz's first movement and the first movement of Reicha's Symphony no. 2 in E♭. I find similarities between the two movements that point towards Reicha's theory of the form as a plausible model for Berlioz's first movement. Chapter Four applies my proposed analytical technique to the entire fifth movement to establish not only the points of large-scale structural significance, but also to establish continuity in the movement by demonstrating momentum gain and loss through the interaction of the layers. Finally, Chapter Five evaluates Berlioz's Ronde du sabbat under the Paris Conservatoire's guidelines for the fugue by examining treatises by Reicha and by Luigi Cherubini. It then establishes the interaction of layers as an important aspect of fugue composition.