Historically, much electroacoustic music has privileged the creation of new and original sounds through synthesis or the use of original and ’authentic’ recordings (e.g. close-mic techniques to fix sound objects or Soundscape recordings). More recent aesthetic developments have seen the privileging of the use of existing sounds and musics, with attendant notions of ’borrowing’, ’stealing’, ’recycling’ and ’recontextualising’. This aesthetically-charged use of the term is integral to the development of intellectual investigation concerning the notion of Digital Aesthetics.
See also:Abstract Sound, Acousmatic, Aural Discourse and Mimetic Discourse, Culture-jamming, Digital Aesthetics, Free Music, Hybrid Thinking, Plunderphonics, Reduced Listening, Referential Sound, Sound Object, Soundscape Composition, Transcontextuality
UNESCO DigiArts- Digital Creation with Sounds and Music: Collect ( English , French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )