Language(s): English, French
Keyword(s):Acoustic Communication , Acousmatic , Listening Experience , Perception , Source Recognition
In this article, the author discusses the use of environmental sound in acousmatic art. He notes that there is a tendency to exploit such sounds for their latent musical properties and that their ’social baggage’, the metaphors that might lurk within them, often remain unchecked. He notes that when such baggage is opened, there is still a great deal of ambivalence about what is being communicated or not communicated - the composer may have one interpretation whereas the listener may have varying interpretations that agree or disagree with the composer. He argues that without conscientious efforts to approach environmental sounds with some imagination and sensitive social awareness, the language for coping with the everyday sound world will remain crude and ineffectual.
Copeland, Darren (1998). Vers une conscience d'associations
All references of the same author:
(English)Copeland, Darren (1995). Cruising For A Fixing in this 'Art of Fixed Sounds'
Copeland, Darren (1999). Is it Indifference or Ambiguity?
Copeland, Darren (2003). Survival Strategies for Electroacoustic Music