Academic literature on the topic 'Acousmatic music'
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Journal articles on the topic "Acousmatic music"
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Andean, James. "Narrative Modes in Acousmatic Music." Organised Sound 21, no. 3 (2016): 192–203. http://dx.doi.org/10.1017/s1355771816000157.
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Beginning with a brief overview of acousmatic narrative, this article proposes that in listening to acousmatic music we select and move between distinct narrative modes, according to the requirements and implications of a given work, or shifting between modes as the work progresses. Similarities and differences with existing theory are considered. Ten narrative modes are proposed as relevant for acousmatic music and discussed. Finally, the appearance of narrative archetypes across multiple modes is considered, as well as similarities across other musics and other fields.
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Andean, James. "Rhythm in Acousmatic Music." Organised Sound 25, no. 2 (2020): 214–20. http://dx.doi.org/10.1017/s1355771820000126.
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‘Rhythm’ is often equated with ‘metered pulse’; as the latter is often eschewed by contemporary music, including acousmatic music, this is often assumed to mean an absence of rhythm. This article proposes that, in fact, acousmatic music does indeed contain rhythmic qualities, and further, that rhythm is one of the dominating forces of acousmatic music, even when pulse or metre at first glance appear to be lacking. This stems from the roots of acousmatic philosophy in phenomenology and a steady focus on our experience of the world around us. Importantly, this points simultaneously towards rhythmic qualities of our environment and towards rhythmic qualities of our embodied experience of that world, due to rhythmic aspects of our bodies, our perception and our cognitive faculties.
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Boutard, Guillaume, and François-Xavier Féron. "Documenting acousmatic music interpretation." Journal of Documentation 75, no. 1 (2019): 99–119. http://dx.doi.org/10.1108/jd-03-2018-0037.
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PurposeExtending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.Design/methodology/approachThe methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.FindingsThe analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.Research limitations/implicationsData collection is limited to French-speaking experts, for historical and methodological reasons.Practical implicationsThe model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.Originality/valueThis research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.
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Amelides, Panos. "Acousmatic Storytelling." Organised Sound 21, no. 3 (2016): 213–21. http://dx.doi.org/10.1017/s1355771816000182.
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The purpose of this article is to explore the idea of relating storytelling with acousmatic music in the creation of a hybrid vehicle for transmitting stories. The concept of acousmatic storytelling is introduced, illustrated by the example of one of my own works which was created with the elements and techniques of storytelling as its conceptual basis. The article continues to investigate concepts of acousmatic storytelling in works from the repertoire of electroacoustic music, with composers such as Ferrari, Westerkamp, Derbyshire, Cousins and Young providing especially pertinent examples. Acousmatic storytelling integrates interviews, archival recordings, soundscape recordings, sonic icons and music quotations; the microphone becomes a time machine, ‘thought capturer’ and a conduit for conveying cultural information, elements which, combined with the sonic world composed in the studio, create a hybrid form. The concepts introduced in this article are useful for all those working with recorded sound, offering an approach to sonic creativity based on storytelling techniques and the way we experience past events through memory and sound recording. Acousmatic storytelling transmits a unique version of a story to the mind of the listener, who participates in the creation of the story and acts as co-creator of that story as experienced. In applying the methodology of interviews as well as researching past events and ‘writing’ about them, acousmatic storytelling composers can also be seen as historians and journalists.
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Adkins, Monty, Richard Scott, and Pierre Alexandre Tremblay. "Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage." Organised Sound 21, no. 2 (2016): 106–16. http://dx.doi.org/10.1017/s1355771816000030.
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This article posits the notion of the post-acousmatic. It considers the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. It will outline the authors’ definition of the term and also outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors’ consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking.
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Rossiter, Martine Louise. "Music – Bodies – Machines." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 5–22. http://dx.doi.org/10.2218/airea.5041.
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This article provides an overview of the Music – Bodies – Machines: Fritz Kahn and Acousmatic Music project and accompanying suite of music – Der Industriepalast. The project is inspired by the work of infographics pioneer Fritz Kahn (1888-1968) who developed works such as Der Mensch als Industriepalast. There is a body of work examining Kahn’s work (Sappol, 2017; Von Debschitz, 2017; Doudova, Jacobs, et al.) that has revealed Kahn’s intent of making the human anatomy accessible to the non-specialised reader through visual metaphors; unlike the descriptive anatomical illustrations of the eighteenth and nineteenth centuries, which show how the human body looks, Kahn’s works visually explain how internal structures work using concepts, metaphors, and allusions.
 This article explores some of the ways in which Kahn’s striking visual images have inspired the composition of five novel acousmatic works of music. The article starts with a survey of existing works making use of similar, extra-musical influences to examine how extra-musical influences such as infographics and painting may influence the formal design of acousmatic music. It goes on to consider how, exactly, the infographics of Fritz Kahn have been used within the project. In some cases, this guides the choice of particular materials (such as the sound of a beating heart to represent an image of a heart monitor), but in other cases, there is influence on phrasing, placement, and even the formal design of entire pieces.
 Taken as a whole, the article seeks to explore the following questions; 1) What impact does the context of a particular image have on a composers’ response? 2) How do composers respond to visual stimuli in acousmatic music? What is their compositional process? 3) How do such parallels between the specific sonic and visual examples offer new interdisciplinary insight to artistic practices and research? 4) How do sound recording techniques inform acousmatic music and generate new creative processes that operate within the sphere of human-machine relations?
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Ratti, Federico Schumacher, and Claudio Fuentes Bravo. "Space–Emotion in Acousmatic Music." Organised Sound 22, no. 3 (2017): 394–405. http://dx.doi.org/10.1017/s1355771817000449.
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This article presents a multimodal exploratory study aimed at searching for evidence that can guide us in the adoption and/or improvement of appropriate theoretical–methodological approaches for studying the role of the spatiality/spatialisation of sound and the cognitive/affective empathic processes involved in the acousmatic experience. For this purpose, controlled listening sessions were conducted in which fragments of different loudspeaker music were presented. The subjects reported their emotional experience and the degree of familiarity they assigned to each sound fragment. Specific questions for the acousmatic fragments inquire into the potential relationships between the sound stimulus and the emotion declared by the subjects. From these experiences, qualitative reports were obtained through a semi-structured interview, and electrodermal activity (EDA) logs were recorded in parallel for an intended group. Based on these results, it is argued that spatiality might be linked to a complex cognitive–affective response from the listeners and emerges as a distinctive element of the meaning that the listeners ascribe to their acousmatic musical experience.
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Andean, James. "A Temporal Basis for Acousmatic Rhythm." Leonardo Music Journal 26 (December 2016): 68–70. http://dx.doi.org/10.1162/lmj_a_00979.
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In an attempt to begin to redress the relative lack of literature focused on rhythm in acousmatic music, this article is intended as a brief look at the acousmatic perspective on rhythm. The article begins with a quick overview of discussion around rhythm in electroacoustic music in general, then contrasts this with some of Pierre Schaeffer’s views on rhythm and finally compares the perceptual temporal levels identified by Schaeffer with similar levels drawn from electroacoustic music, contemporary music and cognitive psychology.
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Gatt, Michael. "Memory, Expectation and the Temporal Flux of Acousmatic Music." Organised Sound 25, no. 2 (2020): 205–13. http://dx.doi.org/10.1017/s1355771820000114.
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This article concerns the temporal experience of acousmatic music, how the music can impact a listener’s sense of time passing and the implications of memory and expectations of auditory events and their perceived connections to one another. It will outline how memory and schemas lead to predictions in the immediate future and larger expectations of a work’s form. An overview of the temporal listening framework for acousmatic music will be provided to show the interrelationship between memory and expectations and how they influence one’s listening focus in the present. Trevor Wishart’s Imago will be used to illustrate how one might compose an acousmatic work to promote active listening using compositional techniques that engage personal schemas and those built through the course of experiencing the piece.
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Campion, Guillaume, and Guillaume Côté. "Acousmatic Music as a Medium for Information: A case study of Archipel." Organised Sound 23, no. 1 (2017): 112–20. http://dx.doi.org/10.1017/s135577181700036x.
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This article discusses the inclusion of concrete informative elements within acousmatic music, in an attempt to mix acousmatic music and sound documentary into a form of socially engaged sound art. Inspired by existing sound practices that make strong use of the sonic reality, such as soundscape composition or radiophonic art, the authors explain how they aim to address socially relevant topics within pieces where music and information are considered of equal importance. To that end, they give a detailed description of their approach through the analysis of the composition process behind Archipel (Côté and Campion 2016), a 29-minute piece focused on the access to the waterfront in the city of Montréal, Québec. Through an alloy of interviews, sound recordings gathered on the shores of Montréal and typically acousmatic sound-processing and synthesis, the piece attempts to portray the challenges and opportunities encompassed by this topic. Having found the need to go beyond the acousmatic concert format for this kind of work, the authors also briefly discuss how they are currently expanding the project to include an interactive website and a mobile application that will complement the initial concert piece.
Dissertations / Theses on the topic "Acousmatic music"
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Seddon, Ambrose. "Recurrence in acousmatic music." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2935/.
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This doctoral research concerns recurrent phenomena in acousmatic works, investigating aspects of correspondence among the constituent sound materials, illuminating the temporal relationships existing among them, and providing concepts to help rationalise compositional structuring processes. While the main focus is on acousmatic music, many of the ideas developed in the research have broader scope and are relevant to other areas of music composition. The concept of recurrence is initially defined and considered, followed by the investigation of different aspects of sound identity. Significant factors that contribute to sound identities are proposed, and existing analytical approaches to identity classification are surveyed. A taxonomy of recurrent phenomena is then elaborated, presenting various aspects of sound identity correspondence and temporal relationships, illustrated with examples from acousmatic repertoire. Concepts described in the taxonomy are practically verified and explored in the accompanying portfolio of five acousmatic compositions, and the integration of the theory within practice is documented in the commentaries. The study identifies principles of recurrence that are unique to acousmatic music, providing concepts for creative exploration within and beyond this area of composition, but which are equally pertinent to analytical endeavours. This research is useful to both analysts and composers because it encourages a sensitivity to specific aspects of sound organisation, whilst providing terminology to describe the different relationships at play.
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Waters, Simon. "Electroacoustic music : composition beyond the acousmatic." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338056.
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Hindmarsh, David. "A portfolio of acousmatic compositions." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/758/.
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This portfolio charts my development as a composer during a period of three years. The works it contains are all acousmatic; they investigate sonic material through articulation and gesture, and place emphasis on spatial movement through both stereophony and multi-channel environments. The portfolio is written as a personal journey, with minimal reference to academic thinking, exploring the development of my techniques when composing acousmatic music. At the root of my compositional work is the examination and analysis of recorded sounds; these are extrapolated from musical phrases and gestural movement, which form the basis of my musical language. The nine pieces of the portfolio thus explore, emphasise and develop the distinct properties of the recorded source sounds, deriving from them articulated phrasing and gesture which are developed to give sound objects the ability to move in a stereo or multi-channel space with expressive force and sonic clarity. There is also a strong use of the qualities and characteristics of the human voice in my work, particularly in the spectral domain – formant and resonant filtering processes are used in the pieces in this portfolio to enhance the organic nature of concrete, real-world sounds. The combination of spatialisation, gesture and phrasing, with appropriate signal processing for the sound materials, form the basis of the nine works presented here.
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Kontos, Constantinos. "A portfolio of acousmatic compositions." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6591/.
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This portfolio consists of a series of acousmatic compositions presented in stereophonic and multichannel formats. The works in this portfolio reflect a variety of different compositional approaches undertaken during a period of time between 2010-2013. In this compositional research particular emphasis is given to the use of diverse sonic materials and their relationship in the exploration of acousmatic composition, along with discussion of important underlying principles and ideas, such as evocation, topos, mood and emotional states, anamnesis and catharsis. In addition, a secondary part of this compositional research uses text and voice within a musical context while still assimilating the aforementioned notions. Furthermore, this commentary reveals the compositional process in general by detailing its formation. Each piece is then individually discussed in order to outline the compositional objectives in relation to the key subjects of investigation.
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Pantaleão, Aquiles. "Compositional processes in acousmatic sound and music." Thesis, City University London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397932.
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Ramsay, Ben. "Exploring compositional relationships between acousmatic music and electronica." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10524.
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This research explores the compositional relationships between acousmatic music and electronica in order to offer a way of unifying the two musical forms. The original contribution to knowledge comes from the creation of a portfolio of compositions that extend the two idioms towards one another, resulting in a series of works that are presented as a journey between and a fusion of electronica and acousmatic music. The dissertation offers a collection of associated theories that underpin the creation of the portfolio. In turn this dissertation addresses three areas that relate to compositional materials, the use of space, with consideration for both compositional and performance space, and a selection of associated cultural considerations that relate to the musics in question. The literature that relates to these three aspects is introduced and discussed with relation to the portfolio. The method behind the composition of the portfolio was not intended to present a collection of fusion works from the outset, but rather to begin composing a selection of purely acousmatic works in order to gain practical compositional understanding of the music. The process was then to grow the portfolio towards the electronica realm, and in parallel map this journey in the dissertation.
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Rossiter, Louise. "A practical investigation of expectation in acousmatic music." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/14306.
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The experience of expectation within acousmatic music is regarded as problematic because the electronic mediation of sound permits and even encourages composers to combine and integrate sounds of widely varying origins that may carry equally divergent aesthetic implications. Because of this, the compositional management of expectation in acousmatic music presents many challenges beyond those found in Western tonal music where familiar musical grammar assists the listener in comprehending the tensions and implications that contribute to expectation. Therefore, the purpose of this research is to investigate the nature of expectation within acousmatic music by means of a practice-based methodology. The composition portfolio itself has led to two new frameworks being proposed. The first, acousmatic skip-diving, provides a method for the ad hoc evaluation of materials and their interactions in situations where large numbers of existing sound materials are available. The second framework – sonic evidence – is based on some of the fundamental principles of forensic science and crime scene investigation. While not derived from my compositional practice, this reflection on the practical outcomes of the research is intended as a useful tool for the listener or musicologist to consider future development of events in a piece of music in terms of expectations aroused. While this study was never intended to provide a definitive answer to the issues surrounding expectation in acousmatic music, it has further illuminated the challenges facing listeners when attempting to anticipate events within a work, and how composers may create moments of surprise within their music. Furthermore, the ideas explored within the dissertation provide important building blocks through which further examination of expectation within the genre may take place.
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Jackson, Nicholas Allen. "The Creation, Performance, and Preservation of Acousmatic Music." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619144438948909.
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Khosravi, Peiman. "Spectral spatiality in the acousmatic listening context." Thesis, City University London, 2012. http://openaccess.city.ac.uk/2717/.
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Sounds are often experienced as being spatially higher or lower in congruence with their frequency ‘height’ (i.e. pitch register). The term ‘spectral spatiality’ refers to this impression of spatial height and vertical depth as evoked by the perceived occupancy of evolving sound-shapes (spectromorphologies) within the continuum of audible frequencies. Chapters One and Two draw upon a diverse body of literature to explore the cognitive and physiological processes involved in human spatial hearing in general, and spectral spatiality in particular. Thereafter the potential pertinence of a spectral space consciousness in the acousmatic listening experience is highlighted, particularly with regard to more abstract acousmatic contexts where sounds do not directly invoke familiar source identities. Chapters Three and Four further elaborate aspects of spectral space consciousness and propose a terminological framework for discussing musical contexts in terms of their spectral space design. Consequently, it is argued that in acousmatic music, spectral spatiality must be considered as an inseparable aspect of spatiality in general, although its pertinence only becomes directly highlighted in particular musical contexts. The recurring theme in this thesis is that, in acousmatic music, 'space' is not a parameter but a multifaceted quality that is inherent to all sounds. As well as providing an analytical framework for discussing spatiality in acousmatic music, this thesis highlights the compositional potentials offered by spectral spatiality, particularly in relation to the creation of perspectival image in multichannel works. For instance, the possibility of (re)distributing the spectral components of a sound around the listener (circumspectral image) is discussed in context, and a software tool is presented that enables an intuitive and experimental approach to the composition of circumspectral sounds for 6 and 8 channel loudspeaker configurations. This thesis is useful for both composers and analysts interested in aspects of spatiality in acousmatic music. It also offers some insight into spectral space consciousness in non-acousmatic music, and may therefore contribute towards a more general understanding of the nature of our spatial experience in music.
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Scardanelli, Simon. "A portfolio of electroacoustic and acousmatic compositions." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/914/.
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A portfolio of electroacoustic and acousmatic compositions realised through a variety of audio and audio-visual media, and with a particular emphasis on using speech as compositional material. The use of speech in compositions raises questions of political intent and responsibility, and these are addressed. The challenges of composing electroacoustic works for theatre, film and for a site specific installation are also discussed. The use of electroacoustic principles in the production of rock music is examined with reference to my own works in this genre. List of files: PDF: Commentary MP3: A Sharp Intake of Breath (2000, 6’15”) MP3: Fragments of Democracy (1999-2000, 16’55”) MP3: de(re)construction (2000, 13’21”) MP3: Aqualogica (2000, 11’13”) MP3: Guitar = God (2009, 12’16”) MP3: The Lonely Bridge Song (2001) Junkie (2’12”) MP3: The Lonely Bridge Song (2001) Begging (4’16”) MP3: The Lonely Bridge Song (2001) Background ambience (extract) (1’39”) MP3: That Dangerous Sparkle (2007) The Valentines (5’04”) MP3: That Dangerous Sparkle (2007) Let There Be A Place (4’53”) MP3: That Dangerous Sparkle (2007) When You’re Lying (3’49”)
Books on the topic "Acousmatic music"
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Hirst, David. A cognitive framework for the analysis of acousmatic music: Analysing Wind Chimes by Denis Smalley. VDM Verlag, 2008.
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Kane, Brian. Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford University Press, Incorporated, 2014.
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Sound unseen: Acousmatic sound in theory and practice. Oxford University Press, USA, 2014.
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Battey, Bret, and Rajmil Fischman. Convergence of Time and Space. Edited by Yael Kaduri. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.002.
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This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together, these historical shifts prefigure the development of audiovisual art, revealing underlying theoretical commonalities in the articulation of time and space that suggest fundamental dynamics of theaudiovisual contractand strategies available to the visual music creator to establish a synergy of sound and image. Some of these strategies are demonstrated in two original case studies.
Book chapters on the topic "Acousmatic music"
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Christodoulou, Anna-Maria. "Exploring the Electroacoustic Music History Through Interactive Sonic Design." In Current Research in Systematic Musicology. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_14.
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AbstractAlgorithms and related technologies are widely used for many musicology-related tasks, such as music analysis or even music composition. The use of algorithms in music analysis may be crucial for a deeper understanding of music theory and history, yet experiential knowledge is proposed here as a more interactive way to take a journey through music history and, more specifically, the evolution of electroacoustic music. From acousmatic music to serialism and from Musique Concrète and Elektronische music to Post-Schaefferian Electronica, numerous techniques have been developed for sound generation and manipulation. In this chapter, SuperCollider is used as a tool to create an interactive composition and to provide a walkthrough of electroacoustic music through live coding. The musicological aspects of the different composition techniques of this music style are explored through their integration into the algorithmic composition.
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Doyle, Peter. "Reverb, Acousmata, and the Backstage Musical." In The Routledge Companion to Screen Music and Sound. Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-45.
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Gorne, Annette van de. "Space, Sound, and Acousmatic Music." In Kompositionen für hörbaren Raum. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839430767-013.
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Snaith, Anna. "Jean Rhys and the Politics of Sound." In The Edinburgh Companion to Literature and Music. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0059.
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Sound is everywhere in Jean Rhys’s work: from the acousmatic sounds of crowded and transitory living, to the transcription of popular song lyrics, to the politics of sonic regulation. Her writing attends to the racial and gendered politics of sound, particularly at those moments when sound becomes noise. This chapter considers the musical references in ‘Let Them Call It Jazz’ and Voyage in the Dark in the context of their wider sonic environment to argue that the politics of sound are central to Rhys’s modernism, particularly in its engagement with colonialism and slavery.
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Beavers, Herman. "The Noisy Lostness." In The New Territory. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806796.003.0004.
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Herman Beavers’s “The Noisy Lostness: Oppositionality and Acousmatic Subjectivity in Invisible Man” explores Ellison’s complex analyses of jazz and bebop music, situating Ellison’s views in the larger context of modernism. Drawing upon the nascent discipline of Sound Studies, Beavers emphasizes the quality of “oppositionality” in such jazz greats as Louis Armstrong to interpret Invisible Man as an instance of oppositional, as opposed to revolutionary, narrative. Beavers views the novel as a study of the disruption of the feedback loop between listening and speaking, in which Ellison uses noise as a disruptive, “acousmatic” presentation of the black body. By showing how the narrator shifts from the prison of sight to the freedom of sound, and thus from regulation to improvisation, Beavers argues that the narrator finally moves from a misguided trust in false systems of protection to a tactical realization of the security of chaos.
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Pisano, Giusy. "In Praise of the Sound Dissolve: Evanescences, Uncertainties, Fusions, Resonances." In Indefinite Visions, translated by Elise Harris and Martine Beugnet. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0007.
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Blurred voices, undefined and acousmatic; noise transformed into music; the backdrop of a world of imperceptible yet present sound; gimmicks brought about as quickly as they disappear; the fading of words, noise, and music; reverberations . . . These are the common practices of the mise en scène of sound, both in so-called auteur cinema and in more popular cinema. Yet such practices are more generally attributed to images, while sounds are relegated to the more concrete, enclosed and well-defined. This chapter interrogates the causes of a misunderstanding: the confusion of the principles of reproduction, fidelity and real sounds and the inability of theoretical categorisations to analyse the mise en scène of sound.
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Favila, Cesar D. "Introduction." In Immaculate Sounds. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197621899.003.0001.
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Abstract This introduction to the concept of immaculate sounds lays out the issues involved with studying the music of New Spanish convents. It includes a listing of the known music manuscript sources that exist and discusses the preliminary studies that have attended to these sources in the form of performance editions and catalogs with respect to Latin American and New Spanish music studies, as well as New Spanish convent history more broadly. It argues that in addition to working with music manuscripts, one must draw from a wider network of sources, such as nuns’ devotional literature and biographies, to flesh out the history of nuns’ music making in New Spain. These latter sources evidence that music, sound, aurality, and orality within the convents were vital components of the liturgical and devotional lives of convents. It also presents a methodology, incorporating the concepts of women’s time and the acousmatic, for narrating a cultural history formed through fragments of archival material with various gaps.
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Abeliovich, Ruthie. "The Yiddish Theater Republic of Sounds and the Performance of Listening." In The Oxford Handbook of Jewish Music Studies. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.30.
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Abstract This chapter focuses on modes of listening generated by the Yiddish theater during the outset of the twentieth century. Departing from Moyshe Hurwitz’s four-act operetta Yetsies mitsraim (The Exodus from Egypt), it examines the ways whereby listening in and to the Yiddish theater evolved against the backdrop of two simultaneous processes: the invention of sound technology and the Jewish mass migration movement from eastern Europe to the United States. Aiming to understand sound as recorded, aired, and actively listened to by audiences in historically and culturally specific formations, three central performances of listening are traced that reflect perceptual facets of the experience of displacement: theatrical listening, acousmatic listening, and peripatetic listening. These sensory and emotive formations translated, intervened in, and altered the ruptured migratory experience into audiovisual modes of attention, enabling its listeners to practice and negotiate their shifting social reality. Thus, listening in and to Yiddish theater functioned as a cornerstone in the actual and imaginative configurations of the Jewish migratory collective after the turn of the century.
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Barrett, Natasha, and Anders Tveit. "11. The composition of acousmatic electroacoustic music in a Norwegian context part II." In Når musikken tek form. Fagbokforlaget, 2025. https://doi.org/10.55669/oa491111.
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Hamilton, Andy, David Macarthur, Roger Squires, Matthew Tugby, Rachael Wiseman, and Andy Hamilton. "Dialogue on Rhythm." In The Philosophy of Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0002.
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Collated and edited by Andy Hamilton, Chapter 1 is a dramatized dialogue in the long philosophical tradition of that form. The debate poses the dynamic conception—that rhythm involves movement—against the view that nothing relevant in the music moves literally, that is, spatially. Hamilton’s dynamic conception characterizes rhythm as “[a primitive] order within human bodily movement or movement-in-sound,” and opposes Malcolm Budd’s and Peter Simons’ static accounts in terms of order-in-time and Roger Scruton’s metaphorical conception of sonic or acousmatic rhythm as movement in space. Most dialogue participants support a dynamic conception of some kind, but David Macarthur denies that rhythm “moves in a literal but non-spatial sense.” Roger Squires and Rachel Wiseman develop Hamilton’s account, arguing that the movement criterion should be expressed as a capacity and not a disposition.
Conference papers on the topic "Acousmatic music"
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Ho, Hubert. "Rethinking gesture theory via embodiment and acousmatic music." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0034.
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Onorato, Giovanni, and Riccardo Ancona. "Raise the Curtain! A Critical Perspective on the Idea of Post-Acousmatic." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/ideaofpostacousmatic.
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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.
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Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses the sonification products of DNA and protein NMR data. The paper introduces On the Extinction of a Species, an acousmatic music composition combining NMR data sonification and voice narration. Ideas developed in electroacoustic composition, such as acousmatic storytelling and sound-based narration are presented and investigated for their use in sonification-based creative works.
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Oliveira Neto, Aluizio. "Iterative Meditations: The use of audio feature extraction tools on acousmatic composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10460.
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This piece explores some possibilities of using Music Information Retrieval and Signal Processing techniques to extract acoustic features from recorded material and use this data to inform the decision making process that is intrinsic to music composition. By trying to identify or create sound descriptors that correlate to the composer’s subjective sensations of listening it was possible to compare and manipulate samples on the basis of this information, bridging the gap between the imagined acoustic targets and the actions required to achieve it. “Iterative Meditations” was created through an iterative process of listening, analyzing, acting and refining the analysis techniques used, having as end product the musical piece itself as well as gathering a collection of tools for writing music.