scholarly journals Rethinking gesture theory via embodiment and acousmatic music

2021 ◽  
Author(s):  
Hubert Ho
Keyword(s):  
Acousmatic Music

scholarly journals Sound-as-Art: The Rise of the Corporeal and Noise in Twentieth-Century Art Practice

2021 ◽  
Author(s):  
◽  
Chris Black
Keyword(s):  
Twentieth Century ◽  
Sound Art ◽  
Art Practice ◽  
Sonic Art ◽  
Field Form ◽  
Acousmatic Music ◽  
The Relationship

<p>This thesis explores the relationship between human corporeality, space, sound and noise in twentieth-century art. The thesis introduces some novel concepts, notably that corporeality, noise and the notion of an expanded field form the bedrock of contemporary sound-based art practice, or what the author refers to as sound-as-art. The terms Corporeal Sound Art and Non-Corporeal Sonic Art are introduced as a way to highlight the traditional distinction between corporeally inclusive sound art and corporeally exclusive acousmatic music. Ultimately, this thesis extols extramusical elements in the realization of sound-based artwork and champions human corporeality and noise as central concerns for sound artists and sonic artists in our current age of digital mediatization.</p>

Space, Sound, and Acousmatic Music

2015 ◽  
pp. 205-220
Author(s):  
Annette van de Gorne
Keyword(s):  
Acousmatic Music

scholarly journals Memory, Expectation and the Temporal Flux of Acousmatic Music

2020 ◽  
Vol 25 (2) ◽  
pp. 205-213
Author(s):  
Michael Gatt
Keyword(s):  
Active Listening ◽  
Compositional Techniques ◽  
Temporal Experience ◽  
Sense Of Time ◽  
Acousmatic Music

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.

scholarly journals Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

2016 ◽  
Vol 21 (2) ◽  
pp. 166-175 ◽  
Author(s):  
Nicolas Marty
Keyword(s):  
Acousmatic Music ◽  
Time Image ◽  
Elizabeth Anderson

Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.

Acousmatic Approaches to the Construction of Image and Space in Sound Art

2015 ◽  
Vol 20 (2) ◽  
pp. 148-159 ◽  
Author(s):  
Peter Batchelor
Keyword(s):  
Current Trend ◽  
Image Space ◽  
Sound Art ◽  
Concert Hall ◽  
Spatial Sound ◽  
Alternative Means ◽  
Acousmatic Music ◽  
Relationship Of ◽  
The Relationship

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 series of four multichannel sound sculptures united in their arrangement in geometric arrays of many (in some cases potentially hundreds of) loudspeakers. These permit, by virtue of being so massively (and geometrically) multichannel, the generation of extremely intricate spatial sound environments – fabricated landscapes – that emerge directly from an acousmatic compositional aesthetic. Owing to their alternative means of presentation and presentation contexts, however, they offer very different experiences from those of acousmatic music encountered in the concert hall. So the latter part of this article explores the various ways in which the listener might engage with constructed image space within these sound sculptures, along with the relationship of the audio content of each with its visual and situational setup – that is, its environment.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

2019 ◽  
Vol 24 (02) ◽  
pp. 205-216 ◽  
Author(s):  
Danilo Rossetti ◽  
Jônatas Manzolli
Keyword(s):  
Graphical Representation ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Technological Equipment ◽  
Analytical Methodology ◽  
Iannis Xenakis ◽  
Audio Recordings ◽  
Acousmatic Music ◽  
Music Representation ◽  
Sound Spectrum

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 to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

Spatio-musical composition strategies

2002 ◽  
Vol 7 (3) ◽  
pp. 313-323 ◽  
Author(s):  
Natasha Barrett
Keyword(s):  
The Other ◽  
Musical Composition ◽  
Musical Structure ◽  
Current Technology ◽  
Sound Reproduction ◽  
Musical Development ◽  
Active Elements ◽  
Art Form ◽  
Spatial Composition ◽  
Acousmatic Music

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 composition strategies available to the acousmatic composer in light of current technology and sound reproduction situations. The analysis takes an aesthetical rather than a technical standpoint.

What the GRM brought to music: from musique concrète to acousmatic music

2007 ◽  
Vol 12 (3) ◽  
pp. 189-202 ◽  
Author(s):  
Marc Battier
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Strong Influence ◽  
Constant Attention ◽  
Early Twentieth Century ◽  
Acousmatic Music ◽  
Musical Sounds ◽  
Musique Concrete ◽  
And Diffusion ◽  
Insight Into

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, artists and musicians were expressing their quest for, as Apollinaire put it, ‘new sounds new sounds new sounds’. The questions of naming, gesture, sound capture, processing and diffusion are part of the concepts thoroughly revisited by the GRMC, then the GRM in 1958, up to what is known as acousmatic music. Other contributions, such as Teruggi's, give readers insight into the technical environments and innovations that took place at the GRM. This present article focuses on the remarkable unity of the GRM. This unity has existed alongside sixty years of activity and dialogue with researchers of other fields and constant attention to the latter-day scientific, technological and philosophical ideas which have had a strong influence in shaping the development of GRM over the course of its history.

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