Transcontextuality

Musicology of Electroacoustic Music [MEM]  >  Discourse within Electroacoustic Music  ]

A term borrowed by Denis Smalley from literary/cultural theory (Linda Hutcheon (1985). Theory Of Parody. NY: Methuan) and applied to the semiotic analysis of electroacoustic music. It can be used as an aid to describing relationships between sounds formed through extrinsic meanings, as well as describing intrinsic/extrinsic relationships within contexts of works themselves.

Transcontextuality is a means of framing analysis of music based on sampling and recycling, as well as Soundscape compositions and Anecdotal compositions.

It is also a useful conceptual tool in attempting to describe what are sometimes loosely termed surrealist-like tendencies in certain electroacoustic works (notably, for example, those of Bernard Parmegiani).

The term Recontextualisation is also sometimes used.

 

See also:

Acousmatic, Anecdotal Composition, Discourse within Electroacoustic Music, Mimesis, Referential Sound, Sampling, Semiotics, Soundscape Composition

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Barret, Natasha (1999). Little Animals: Compositional Structuring Processes
Field, Ambrose (2000). Simulation and Reality: The New Sonic Objects
Kankaanpää, Vesa (1996). Displaced Time: Transcontextual references to time in Kaija Saariaho’s {Stilleben}
Rubin, Anna (2000). {Forêt Profonde} by Francis Dhomont - Representations of the Unconscious
Thomson, Phil (2005). Soundscape Composition, Globality, and Implicated Critique
Windsor, W. Luke (2000). Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds

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