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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