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Journal articles on the topic 'Acousmatic sound'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Kane, Brian. "Acousmate: History and de-visualised sound in the Schaefferian tradition." Organised Sound 17, no. 2 (2012): 179–88. http://dx.doi.org/10.1017/s1355771812000118.

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The word ‘acousmatic’ has a strange and complicated history. Recent Schaefferian accounts have replicated François Bayle's sketch of the ‘histoire du mot’ from his Musique acousmatique – in particular, the assumed synonymy between ‘acousmatique’ and ‘acousmate’. However, this synonymy is mistaken. The word ‘acousmate’ was first coined in an article from 1730 to describe a strange noise heard one evening in the small French village of Ansacq. A discussion of the article follows, which shows how the word is unrelated to the Pythagorean acousmatics, and how its author understood his ‘acousmate’ i

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Pinheiro, Sara. "Acousmatic Foley: Staging sound-fiction." Organised Sound 21, no. 3 (2016): 242–48. http://dx.doi.org/10.1017/s1355771816000212.

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This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms.The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory

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Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds t

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4

Donahue, Joseph. "Acousmatic Orphism: Susan Howe." CounterText 7, no. 3 (2021): 394–420. http://dx.doi.org/10.3366/count.2021.0243.

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In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source

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Soddell, Thembi. "The Acousmatic Gap as a Flexile Path to Self-Understanding: A case for experiential listening." Organised Sound 25, no. 3 (2020): 344–52. http://dx.doi.org/10.1017/s1355771820000308.

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Since Schaeffer’s development of musique concrète, there has been an ongoing debate regarding the value of the acousmatic reduction for engaging with real-world sound in music, and its relevance for composers and listeners. This article presents a way of working with acousmatic sound that is more meaningful to me as a composer, which I have labelled experiential listening. In understanding acousmatic sound through the lens of experientialism (as opposed to Schaeffer’s use of phenomenology), I have devised this method to form a dialogue between sound, composer, and listener through the use of m

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Krylova, Alexandra V. "Acousmatic Sound in Multimedia Installations." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (2021): 63–75. http://dx.doi.org/10.33779/2587-6341.2021.3.063-075.

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DHOMONT, FRANCIS. "Is there a Québec sound?" Organised Sound 1, no. 1 (1996): 23–28. http://dx.doi.org/10.1017/s1355771896000143.

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This article approaches the definition of the important term 'acousmatic' by reference to its origins in the sound studios of the French National Radio. The links from France to Québec are outlined and the Québecois acousmatic school, largely based in Montreal, is introduced. Aspects of a typical piece are discussed, and the author is able to answer the title question positively.

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8

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. A

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9

Avidad, Andrea. "Deadly Barks: Acousmaticity and Post-Animality in Lucrecia Martel's La ciénaga." Film-Philosophy 24, no. 2 (2020): 222–40. http://dx.doi.org/10.3366/film.2020.0140.

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Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of acousmatic sound and acousmatic listening constitutes a strategy of disruption, challenging the traditional concept of

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10

Milutis, Joe. "The Biography of the Sample: Notes on the Hidden Contexts of Acousmatic Art." Leonardo Music Journal 18 (December 2008): 71–75. http://dx.doi.org/10.1162/lmj.2008.18.71.

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Acousmatic sound art production has as its goal a transformation of recognizable recorded sound samples into new relations, effectively hiding the origin of the raw material so as to focus on an experience of pure sound. The author defines the “live” as the “life” from which these samples are pulled, and considers the ways in which the biography of the sample troubles acousmatic art.

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11

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 Archi

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Noudelmann, François. "What is an Acousmatic Reading?" Paragraph 41, no. 1 (2018): 110–24. http://dx.doi.org/10.3366/para.2018.0254.

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Thinking involves many elements of sound that philosophical tradition has repressed. Breathing, rhythms and collateral noises participate in the making of idealities, even the most abstract. In order to hear them, the voice needs to be considered as one sound among others and as multiple, even when it comes from the same speaker, following different protocols of enunciation. Listening to the recordings of seminars and studying the role played by modern sound technologies make it possible to hear subterranean meanings and tensions at the heart of mental elaboration. Thinkers and writers could b

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Mcauliffe, Sam. "Studying Sonorous Objects to Develop Frameworks for Improvisation." Organised Sound 22, no. 3 (2017): 369–77. http://dx.doi.org/10.1017/s135577181700053x.

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French musique concrète artist Pierre Schaeffer pioneered new ways of listening to and studying sound. His study and manipulation of recorded sounds to create music changed the way contemporary musicians, from a multitude of disciplines, approach making music. Additionally, Schaeffer’s treatise on acousmatic listening to sonorous objects has deeply influenced contemporary sound studies. In this article, I elucidate how musique concrète has informed my practice-led research project,Looking Awry– from which I will discuss two case studies. I outline how acousmatic listening to field recordings f

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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 ques

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15

Kane, Brian. "Acousmatic Fabrications: Les Paul and the ‘Les Paulverizer’." Journal of Visual Culture 10, no. 2 (2011): 212–31. http://dx.doi.org/10.1177/1470412911402892.

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Acousmatic sound – a sound that one hears without seeing the causes behind it – creates situations where visual contributions to auditory experience are diminished. The author theorizes that acousmatic separation unsettles the relationship of the source, cause and effect of sound. To draw out the consequences of this theory, Les Paul and Mary Ford’s multi-tracked recordings and live performances are examined, and three central claims are posited. First, Paul’s turn to multi-tracked recording was motivated by mimetic rivalry when his ‘sound’ was imitated on the radio. Second, Paul misdirected l

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Batchelor, Peter. "Grasping the Intimate Immensity: Acousmatic compositional techniques in sound art as ‘something to hold on to’." Organised Sound 24, no. 3 (2019): 307–18. http://dx.doi.org/10.1017/s1355771819000372.

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This article explores the accessibility of acousmatic compositional approaches to sound and installation art. Principally of concern is the consideration of intimacy to create a means of ‘connecting’ with an audience. Installations might be said to explore ideas of intimacy in two ways which increase accessibility for the installation visitor: through cultivating installation–visitor relationships, and through encouraging visitor–visitor relationships. A variety of ways in which various acousmatic compositional techniques relating to intimacy might be brought to bear on and operate as a way of

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Anderson, Elizabeth. "An Interview with Annette Vande Gorne, Part 2." Computer Music Journal 36, no. 2 (2012): 10–22. http://dx.doi.org/10.1162/comj_a_00116.

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Annette Vande Gorne, renowned composer of electroacoustic music, discusses her multi-faceted career in a two-part interview. In this second part of the interview, Vande Gorne reveals her compositional strategy for her current project (her acousmatic opera Yawar Fiesta) as well as for other electroacoustic genres–notably, acousmatic works, mixed works, and sound installations. Vande Gorne also discusses the fundamental importance of the art of interpreting sound in space, and explains the instrument of interpretation (the acousmonium) and her use of it. Additionally, Vande Gorne reflects on her

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18

Rugger, David. "Brian Kane,Sound Unseen: Acousmatic Sound in Theory and Practice." Journal of Musicological Research 35, no. 1 (2016): 64–66. http://dx.doi.org/10.1080/01411896.2016.1122442.

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Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.

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Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature o

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20

Batchelor, Peter. "Acousmatic Approaches to the Construction of Image and Space in Sound Art." Organised Sound 20, no. 2 (2015): 148–59. http://dx.doi.org/10.1017/s1355771815000035.

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This article considers ideas of image and space as they apply to acousmatic music and to sound art, establishing overlaps and compatibilities which are perhaps overlooked in the current trend to consider these two genres incompatible. Two issues in particular are considered: compositional (especially mimesis and the construction of image, and what shall be termed ‘ephemeral narrative’) and presentational (in particular multichannel speaker deployment). While exploring several relevant works within this discussion, by way of a case study the article introduces the author’s GRIDs project – a ser

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21

Iraguen Zabala, Oihane. "Entre Sonido y Sentido. Acusmática y Blackboxing." Barcelona Investigación Arte Creación 8, no. 2 (2020): 141. http://dx.doi.org/10.17583/brac.2020.4355.

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This personal research understands the concept of acousmatic as a contemporary praxis in sound art. This ancient Pythagorean practice, -utilized to a strange sound, - shares the essence of nowadays virtuality. As devices’ screens for example share features and processes with the old Pythagorean curtain. Although acousmatic practice avoids any visual representation, and hides the internal functioning of communication, behaving like a black box. External stimuli directly affect it, triggering sound-image feelings and emotions that are (un)known to us. Rather than investigating the response trigg

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Spitzer, Michael. "Review: Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane." Journal of the American Musicological Society 69, no. 2 (2016): 579–84. http://dx.doi.org/10.1525/jams.2016.69.2.579.

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Barrett, Natasha. "Spatio-musical composition strategies." Organised Sound 7, no. 3 (2002): 313–23. http://dx.doi.org/10.1017/s1355771802003114.

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Spatial elements in acousmatic music are inherent to the art form, in composition and in the projection of the music to the listener. But is it possible for spatial elements to be as important carriers of musical structure as the other aspects of sound? For a parameter to serve the requirements of musical development, it is necessary for that parameter to cover a range of perceptually different states. For ‘space’ to be more than a setting within which the main active elements in the structure unfold, it needs to satisfy these requirements. This paper explains a number of important spatial com

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Herrmann, Mitchell. "Unsound Phenomenologies: Harrison, Schaeffer and the sound object." Organised Sound 20, no. 3 (2015): 300–307. http://dx.doi.org/10.1017/s1355771815000229.

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As Jonty Harrison himself acknowledges, a significant body of acousmatic music exists which has, directly or indirectly, challenged aspects of the Schaefferian theory from which acousmatic music first developed (Harrison 1995). Few pieces, however, have so clearly and deliberately confronted Schaeffer’s notion of the ‘sound object’ as Harrison’sUnsound Objects. Harrison does more than merely reject Schaeffer’s definition of the sound object through the use of expanded compositional strategies. Rather, he both employs Schaeffer’s methodology and subverts it, systematically demonstrating the pot

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Battier, Marc. "What the GRM brought to music: from musique concrète to acousmatic music." Organised Sound 12, no. 3 (2007): 189–202. http://dx.doi.org/10.1017/s1355771807001902.

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AbstractSixty years ago, musique concrète was born of the single-handed efforts of one man, Pierre Schaeffer. How did the first experiments become a School and produce so many rich works? As this issue of Organised Sound addresses various aspects of the GRM activities throughout sixty years of musical adventure, this article discusses the musical thoughts behind the advent and the development of the music created and theoretised at the Paris School formed by the Schaefferian endeavours. Particular attention is given to the early twentieth-century conceptions of musical sounds and how poets, ar

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Naylor, Steven. "Appropriation, Culture and Meaning in Electroacoustic Music: A composer's perspective." Organised Sound 19, no. 2 (2014): 110–16. http://dx.doi.org/10.1017/s1355771814000041.

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This paper explores issues related to cultural appropriation in acousmatic electroacoustic music. Through its use of sound recording technology, acousmatic electroacoustic music facilitates a broad range of potential mechanisms for cultural appropriation, from the abstract (idea) to the concrete (sound object). But appropriating culturally identifiable material is not without its hazards, and the composer may face accusations of superficial exoticism, cultural offence, or the violation of personal or legal rights. To complicate matters for the composer, each listener will bring his or her own

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Atkinson, Simon. "Interpretation and musical signification in acousmatic listening." Organised Sound 12, no. 2 (2007): 113–22. http://dx.doi.org/10.1017/s1355771807001756.

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AbstractThe challenges of understanding musical meaning are considered in light of ways in which electroacoustic practice and acousmatic listening might embody yet further nuances in how music can function as a signifying system. ‘Classical’ semiotics is discussed, as well as more recent developments with post-structuralist approaches and musical semantics in other areas of music scholarship. The idea, inherited from the tradition of ‘absolute music’, that musical meaning lies exclusively in the inner operations of the musical materials and their structural organisation, is questioned. Concept

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Sigman, Alexander, and Nicolas Misdariis. "alarm/will/sound: Sound design, modelling, perception and composition cross-currents." Organised Sound 24, no. 1 (2019): 54–70. http://dx.doi.org/10.1017/s1355771819000062.

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An ongoing international arts-research-industry collaborative project focusing on the design and implementation of innovative car alarm systems, alarm/will/sound has a firm theoretical basis in theories of sound perception and classification of Pierre Schaeffer and the acousmatic tradition. In turn, the timbre perception, modelling and design components of this project have had a significant influence on a range of fixed media, electroacoustic and media installation works realised in parallel to the experimental research. An examination of the multiple points of contact and cross-influence bet

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Chung, Hye Jean. "Cinema as Archeology: The Acousmêtre and the Multiple Layering of Temporality and Spatiality." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 105–16. http://dx.doi.org/10.5195/contemp.2011.22.

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Michel Chion’s concept of the “acousmêtre” is useful when exploring the spectator’s cinematic experience in regard to the juxtaposition of sound and image, as the acousmatic presence troubles the false sense of unity that is created by the synchronization of sound and image by its invocation of off-screen space through sound. The acousmêtre neither prioritizes sound nor image but calls attention to the disjunction between them. Also, the acousmêtre leaves the source of the sound open to imagination and interpretation. Thus the presence of the acousmêtre destabilizes the seemingly unified, cont

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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 eight

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Seo, Jeong-Eun. "Sound Unseen or Sound Seen : Dis-acousmatic Meanings of Helmut Lachenmann’s musique concrète instrumentale." Journal of the Science and Practice of Music 40 (October 31, 2018): 105–41. http://dx.doi.org/10.36944/jspm.2018.10.40.105.

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Barrett, Richard. "Sound Unseen: Acousmatic Sound in Theory and Practice by Brian Kane. OUP, 2014. £42.00." Tempo 69, no. 273 (2015): 53–54. http://dx.doi.org/10.1017/s0040298215000236.

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Degrassi, Franco. "Some Reflections of Borrowing in Acousmatic Music." Organised Sound 24, no. 02 (2019): 195–204. http://dx.doi.org/10.1017/s1355771819000232.

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This article begins with an outline of the Manovich general definition of borrowing followed by an introduction to the theme of borrowing in music, particularly within the context of acousmatic music. Two scenarios proposed by Navas in his taxonomy of borrowing are used to further the discussion in relation to material sampling and cultural citation. With reference to material sampling, some examples of remix, appropriation and quoting/sampling taking place within acousmatic music are highlighted. With regards to cultural citation, two levels of reference will be considered: cultural citation

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Normandeau, Robert. "Timbre Spatialisation: The medium is the space." Organised Sound 14, no. 3 (2009): 277–85. http://dx.doi.org/10.1017/s1355771809990094.

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In this text, the author argues that space should be considered as important a musical parameter in acousmatic music composition as more conventional musical parameters in instrumental music. There are aspects of sound spatialisation that can be considered exclusive to the acousmatic language: for example, immersive spatialisation places listeners in an environment where they are surrounded by speakers. The author traces a history of immersive spatialisation techniques, and describes the tools available today and the research needed to develop this parameter in the future. The author presents

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Hirst, David. "From Sound Shapes to Space-Form: investigating the relationships between Smalley's writings and works." Organised Sound 16, no. 1 (2011): 42–53. http://dx.doi.org/10.1017/s1355771810000427.

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By drawing concept diagrams of Smalley's seminal writings, I have attempted to show how Smalley's ideas on acousmatic music have evolved from manipulating sound objects to creating ‘space-forms’. The work Wind Chimes is analysed with respect to spectromorphology and sound shapes, and it is compared to the work Base Metals, which is analysed with respect to spectral space. A connection is then made between the evolution in writing and the evolution in composition.

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Parmar, Robin. "The Garden of Adumbrations: Reimagining environmental composition." Organised Sound 17, no. 3 (2012): 202–10. http://dx.doi.org/10.1017/s1355771811000392.

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R. Murray Schafer's soundscape, predicated on a schizophonic engagement with sound, and Pierre Schaeffer's musique concrète, based on an acousmatic relationship, have for some time been the dominant approaches for those who wish to compose with sounds sourced from the environment. Following Brian Kane and Timothy Morton, this paper critiques the ideologies behind these systems, instead suggesting an approach that uses Deleuze and Guattari's rhizome as a generative metaphor. The Garden of Adumbrations, a multi-channel electroacoustic piece, is used to illustrate several compositional possibilit

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Rossetti, Danilo, and Jônatas Manzolli. "Analysis of Granular Acousmatic Music: Representation of sound flux and emergence." Organised Sound 24, no. 02 (2019): 205–16. http://dx.doi.org/10.1017/s1355771819000244.

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Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied t

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Rennie, Tullis. "Socio-Sonic: An ethnographic methodology for electroacoustic composition." Organised Sound 19, no. 2 (2014): 117–24. http://dx.doi.org/10.1017/s1355771814000053.

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This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to further the use of contextual information when making compositional decisions with sound materials derived from field recordings: a socio-sonic methodology. To begin the discussion, theoretical readings of sound in context are presented. Parallels are highlighted between the practices of ethnographic study and soundscape composition, illustrated with the work of S

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Dima, Vlad. "Sound Corporeality and Multidirectional Acousmatic Music in Mathieu Kassovitz's La Haine." JCMS: Journal of Cinema and Media Studies 61, no. 4 (2022): 36–55. http://dx.doi.org/10.1353/cj.2022.0046.

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HAIR, ROSS. "Exquisite Garble: Acousmatic Sound and Binocular Vision in Ronald Johnson’s ARK." Contemporary Literature 59, no. 2 (2018): 133–60. http://dx.doi.org/10.3368/cl.59.2.133.

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Blackburn, Manuella. "The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition." Organised Sound 16, no. 1 (2011): 5–13. http://dx.doi.org/10.1017/s1355771810000385.

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Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive a

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Holbrook, Ulf A. S. "Sound Objects and Spatial Morphologies." Organised Sound 24, no. 1 (2019): 20–29. http://dx.doi.org/10.1017/s1355771819000037.

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One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial lis

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Hayes, Tracy. "Aural disturbance in the stories of M. R. James." Short Fiction in Theory & Practice 11, no. 1-2 (2021): 111–25. http://dx.doi.org/10.1386/fict_00039_1.

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The physical process of receiving and interpreting sound creates not just an auditory experience through vibrations registering within our bodies; sounds can also evoke feeling and conjure up mental images. This is especially true of acousmatic sounds, which Michel Chion describes as sounds that are heard while their source remains invisible, and such sounds are thus perfect vehicles for conveying one feeling in particular: terror. If one is not able to see what one can hear, the ensuing sense of terror is heightened. Through the use of sound, and indeed the deliberate absence of sound, M. R.

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d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (2019): 41–53. http://dx.doi.org/10.1017/s1355771819000050.

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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transf

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Blackburn, Manuella. "Instruments INDIA: A sound archive for educational and compositional use." Organised Sound 19, no. 2 (2014): 146–53. http://dx.doi.org/10.1017/s1355771814000089.

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This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian mu

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Stoever, Jennifer Lynn. "Fine-Tuning the Sonic Color-line: Radio and the Acousmatic Du Bois." Modernist Cultures 10, no. 1 (2015): 99–118. http://dx.doi.org/10.3366/mod.2015.0100.

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In this essay, I perform archival work on W. E. B. Du Bois's little known history with American radio in tandem with literary analysis to rethink how we have understood The Souls of Black Folk (1903) and Dusk of Dawn (1940) as sonic texts. First, I re-examine ‘the Veil’, Du Bois's famous conception of the color-line in Souls, as an acousmatic device, an aural epistemology dependent on deliberately masking the source of one's voice to avoid the distortion caused by visual representation. Then, I contextualize Du Bois's second autobiographical work, Dusk of Dawn, within early 1940s radio culture

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Pinheiro, Sara, and Jiří Rouš. "Reflections on Sound Associations and Sonic Digital Environments." Resonance 3, no. 3 (2022): 255–67. http://dx.doi.org/10.1525/res.2022.3.3.255.

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This essay uses a “thought experiment” in order to combine theories of perception with sound practices. For that, it explores the concept of “object of thought” and the process of brain-associations in relation to acousmatic composition and reduced listening. Throughout the hypothetical premise of a falling tree, the study brings to discussion digital environments, in particular in relation to methodologies behind game engines. Eventually, it proposes to divide the question “If a tree falls in a forest and no one is around to hear it, does it make a sound?” according to its multiple angles—the

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Nyström, Erik. "Strange Post-human Attractors: Algorithmic improvisation as acousmatic poiēsis." Organised Sound 26, no. 1 (2021): 31–41. http://dx.doi.org/10.1017/s1355771821000030.

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Contemporary thought is moving away from the notion that the human is a clear-cut concept. In particular, non-anthropocentric views are proliferating within the interdisciplinary area of critical post-humanism, with emphasis on non-dualistic views on relations between human and technology. This article shows how such a view can inform electroacoustic and computer music practice, and sees improvisation linked with composition as a fruitful avenue in this. Following a philosophical preparation and a discussion of relevant music discourse, two computer music works created by the author are discus

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Levack Drever, John. "Soundscape composition: the convergence of ethnography and acousmatic music." Organised Sound 7, no. 1 (2002): 21–27. http://dx.doi.org/10.1017/s1355771802001048.

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Despite roots in acoustic ecology and soundscape studies, the practice and study of soundscape composition is often grouped with, or has grown out of the acousmatic music tradition. This can be observed in the positioning of soundscape compositions juxtaposed with acousmatic music compositions in concert programmes, CD compilations and university syllabuses. Not only does this positioning inform how soundscape composition is listened to, but also how it is produced, sonically and philosophically. If the making and presenting of representations of environmental sound is of fundamental concern t

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EMMERSON, SIMON. "Aural landscape: musical space." Organised Sound 3, no. 2 (1998): 135–40. http://dx.doi.org/10.1017/s1355771898002064.

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This paper seeks to examine how sound in general (and electroacoustic music in particular) can evoke a sense of being and place which may be strongly related to our visual experience. The auditory system has evolved to seek the reasons for the soundfield it encounters and this property cannot meaningfully be ignored by composers in this medium. The acousmatic condition stimulates and enhances this response. The science of acoustics cannot any longer alone explain sound phenomena and requires psychological and ecological dimensions. The idea of the ‘frame’ is developed from large-scale to small

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