1. A global appellation for any musical or sonic work whose existence is dependent on the techniques of sound recording (at some point) in its creation. The term could therefore include many areas of electroacoustic music-making that involve the creation of a ’fiction’ or ’fabrication’ (e.g. acousmatic, anecdotal, plunderphonics, or collage-based compositions), but could also be extended to the customary use of sound recording (i.e. to document performances of existing musics) as well.
2. A term denoting the conception of sound recording being a form of sound ’photography’, coined by the French composer and theorist François-Bernard Mâche. In Mâche’s work the term is of significance at the level of his attitude of allowing ’reality’ to be present in the musical work, and from his use of phonography (in French phonographie) as a model. This may or may not appear in the eventual work and can be used in pursuing creative activities other than sound recording. This conception is related in some ways to ’musicalised’ notions of the ’found object’ (in French objet trouvé) and (Duchamp’s) ready-made.
See also:Anecdotal Composition, Diapositive Sonore (Sound Slide)
UNESCO DigiArts- Young Digital Creators: The sound of our water ( English , French , Spanish )
- Young Digital Creators: Scenes and sounds of my city ( English , French , Spanish )
Bibliography: Chion, Michel (1994). Musique, Médias et Technologies
Delalande, François (2003a). Le paradigme électroacoustique
Dhomont, Francis (1998b). Parlez-moi d’espace
Pallandre, Jean (2003). La charpente invisible (une pratique expérimentale de la phonographie)
Parent, Nil (1994). Play. Le déclin d’une culture musicale
Savouret, Alain (2002). Electroacoustique et perspective phonoculturelle