Something to Hold on to Factor

Musicology of Electroacoustic Music [MEM]  >  Socio-Cultural Aspects of Electroacoustic Music  >  Access (to Electroacoustic Music)  >  Dramaturgy of Electroacoustic Music  ]

The ’something to hold on to factor’ has to do with making musical works accessible to the listener. It works as follows: the creators of a work offer their public something to hold on to in terms of appreciation in word and deed. This ’something’ in electroacoustic music can range treatment of parameters to homogeneity of sounds and/or the search for new sounds to the density of layering to an appropriate form of narrativity. This ’something’ does not have to be the key element of the work in question. It is, however, an aspect of the work which helps one feel more comfortable, providing a greater understanding of the work. (Source - Leigh Landy (1994). The ’Something to Hold on to Factor’ in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. London: Harwood: 49-60.)



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Alphabetical order - Chronological order

Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Landy, Leigh (1994b). ‘The Something to Hold on to Factor’ in Electroacoustic Timbral Composition
Voegelin, Salomé (2004). How Can You Hear It When You Don’t Know What You Are Listening For? - The Need For a Critical Context of Listening
Weale, Rob (2005a). The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2005b). The Intention/Reception Project: Investigating the Relationship Between 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


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