Language(s): English

Keyword(s):

Musique Concrète ,  Semantic Listening ,  Abstract Syntax and Abstracted Syntax ,  Aural Discourse and Mimetic Discourse ,  Musical Landscape ,  Narrative ,  Source Recognition ,  Electroacoustic Music ,  Sonic Art ,  Aural Landscape

Abstract:

In this essay, the author defines and discusses the aural landscape of electroacoustic music. He discusses how a composer can establish networks of relationships that are based on the natural perceptual abilities of the listener; including elements of metaphor and symbolism, and how the overall architecture of a work can function in both an acoustically/musically structured and metaphoric/symbolic manner. He discusses how an approach based on aural landscape concepts can be used establish a strong discourse within a work, one that has the potential for establishing strong lines of communication between a composer and a listener.

All references of the same author:

(English)

Wishart, Trevor (1978). Red Bird: A Document
Wishart, Trevor (1984). Soundscape Design in the Jorvik Viking Centre Museum
Wishart, Trevor (1986b). The Environment for Computer Music Composition
Wishart, Trevor (1988). The Composition of Vox-5
Wishart, Trevor (1989). The Function of Text in the VOX cycle
Wishart, Trevor (1991). Computer Music and Post-Modernism
Wishart, Trevor (1992). Music and Technology: Problems and Perspectives
Wishart, Trevor (1993). From Architecture to Chemistry
Wishart, Trevor (1994). Audible Design: A Plain and Easy Introduction to Practical Sound Design
Wishart, Trevor (1996a). On Sonic Art - Revised Edition
Wishart, Trevor (1996b). The Situation of the Sonic Arts Today
Wishart, Trevor (2000). Sonic Composition in Tongues of Fire