Listening Experience

Musicology of Electroacoustic Music [MEM]  ]

The experience and study of listening are integral to Electroacoustic Music Studies. Much electroacoustic music privileges listening as a creative act. Creative practice and research have highlighted the numerous and varied situations in which we may experience electroacoustic music, as well as the varied expectations we may have from our listening. This umbrella term includes such important topics as where we listen, the presentation, performance and spatialisation of music, what we are listening for in music (i.e. questions of meaning and signification), and discoveries and theories as to how we listen. Discursive, social and cultural understanding of electroacoustic music making are also located beneath this umbrella.



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Smalley, Denis (1992). The Listening Imagination: Listening in the Electroacoustic Era
SMALLEY, Denis (1992a). Can electroacoustic music be analysed? (La musica elettroacustica può essere analizzata?)
Smalley, Denis (1995a). The Listening Imagination: Listening in the Electroacoustic Era
Smalley, Denis (1999). Établissement de cadres relationnels pour l’analyse de la musique postschaefferienne
Smalley, Denis (2007). Space-form and the acousmatic image
Soulez, Antonia, Vaggione, Horacio (2005). Composing, Listening
Stiegler, Bernard (2003). Bouillonnements organologiques et enseignement musical
Stuart, Caleb (2003). The Object of Performance: Aural Performativity in Contemporary Laptop Music
TANZI, Dante (1999b). Linguaggi compositivi e innovazione tecnologica fra scienza e arte (Compositional languages and technological innovation: art vs. science)
Teruggi, Daniel (2001b). Après une écoute de {Sud}
Teruggi, Daniel, Romano, Marta (2001). Interview with Daniel Teruggi Director of Groupe de Recherches Musicales (GRM)
Thomas, Jean-Christophe (1986). Vu de l’image
Thomas, Jean-Christophe (1991). Quelques propositions pour étudier l’espace imaginaire dans les musiques acousmatiques
Thomas, Jean-Christophe (1997). Esquisse de poétique de la musique acousmatique
Thomas, Jean-Christophe (2001). Sur l’expression de la nature dans les musiques électroacoustiques
Thomas, Jean-Christophe (2003b). Entrons dans {Camera oscura} et son Labyrinthe avec l’auteur
Tiffon, Vincent (2005). L’image sonore : la présence invisible
Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University
Truax, Barry (2002a). Electroacoustic Music and the Digital Future
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
Waisvisz, Michel (1999). Riding the Sphinx - Lines about ’Live’
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
Westerkamp, Hildegarde (2001). Speaking from Inside the Soundscape
Wilding, Richard (1998). Listening Spaces/Performance Spaces: The Performance of electroacoustic Music as Cultural Practice
Young, John (1996). Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music
Young, Miriama (2006). Latent body-plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology




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