Keyword(s):Spatialisation , Narrative , Listening Experience , Interdisciplinary Artistic Work , Perception
This article seeks to examine how sound in general (and electroacoustic music in particular) can evoke a sense of being and place which may be strongly related to our visual experience. The auditory system has evolved to seek the reasons for the soundfield it encounters and this property cannot meaningfully be ignored by composers in this medium. The acousmatic condition stimulates and enhances this response. The science of acoustics cannot any longer alone explain sound phenomena and requires psychological and ecological dimensions. The idea of the ‘frame’ is developed from large-scale to small-scale soundfields: ‘landscape’, ‘arena’ and ‘stage’ are seen to be flexible components of this approach to composition. The paper concludes that a mature relationship of audio and visual art forms requires a greater acknowledgement of these attributes of sound.
All references of the same author:
(English)Emmerson, Simon (1976). Electronic Music in Education
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Emmerson, Simon (1986). The Relation of Language to Materials
Emmerson, Simon (1989). Composing Strategies and Pedagogy
Emmerson, Simon (1991). Interview with Jonathan Harvey
Emmerson, Simon (1994a). ‘Local/Field': Towards a Typology of Live Electroacoustic Music
Emmerson, Simon (1994b). 'Live' versus 'Real-time'
Emmerson, Simon (1995a). Analysis of Live Electronic Music
Emmerson, Simon (1995b). Electroacoustic Music: Aesthetic Situation and Perspectives
Emmerson, Simon (1996). Sentences for Soprano and Electronics: Towards a Poetics of Live Electronic Music
Emmerson, Simon (1998a). Acoustic/Electroacoustic: The Relationship with Instruments
Emmerson, Simon (2000a). Crossing Cultural Boundaries Through Technology?
Emmerson, Simon (2000b). ‘Losing Touch?': The Human Performer and Electronics
Emmerson, Simon (2000c). Time Regained
Emmerson, Simon (2001a). New Spaces/New Places: a Sound House for the performance of electroacoustic music and sonic art
Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Emmerson, Simon (2001c). Pentes: A Conversation with Denis Smalley
Emmerson, Simon (2001d). The Electroacoustic Harpsichord
Emmerson, Simon (2006). In what form can ‘live electronic music' live on?