Keyword(s):Soundscape Composition , Aural Analysis , Discourse within Electroacoustic Music , Dramaturgy of Electroacoustic Music , Something to Hold on to Factor , Listening Experience , Intention and Reception , Electroacoustic Music , Phonography , Perception , Source Recognition
In this dissertation, the author presents the results of a project designed to introduce a dynamic methodology into electroacoustic music research, one that seeks to discover how accessible electroacoustic music can be. Focussing on the development, enhancement and expansion of Leigh Landy’s concepts, ‘the something to hold on to factor’ and ‘dramaturgy’ in electroacoustic music, the project looks towards generating knowledge that contributes to supporting access in terms of our better understanding of how electroacoustic music succeeds in terms of communicating content and experience with its listeners and thus in terms of our predicting how relevant it can be to today’s and tomorrow’s society.
All references of the same author:
(English)Weale, Rob (2005a). The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2006). Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project
Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis