Language(s): English

Keyword(s):

Acousmatic ,  Discourse within Electroacoustic Music ,  Transcontextuality ,  Acousmatic ,  Listening Strategy ,  Source Recognition ,  Electroacoustic Music ,  Perception

Abstract:

In this chapter, the author interrogates the musical-theoretical consequences of acousmatic music, that which denies a visual source for its constituent sounds. He introduces an ecological view of perception through which he demonstrates how a consideration of the relationship between action, perception and meaning can provide a more perceptually relevant analysis of electroacoustic music. He analyses works by György Ligeti (Artikulation, 1988), Pierre Henry (Variations pour une porte et une soupir, 1987) and Fred Frith (Guitar Solos: Alienated Industrial Seagulls, 1993) to show how a more subtle and perceptually motivated view of the acousmatic has more important aesthetic consequences.

All references of the same author:

(English)

Windsor, W. Luke (1994). Using Auditory Information for Events in Electroacoustic Music
Windsor, W. Luke (1997). Frequency Structure in Electroacoustic Music: Ideology, function and perception