Intention and Reception

Musicology of Electroacoustic Music [MEM]  >  Listening Experience  ]

This term concerns the study of the triangulation of composers’ intention with the experience of listeners. Research questions include how much information about a work, e.g., title, composer’s programme, composer’s expectations concerning listening strategies and listener response, does one desire to achieve a greater appreciation or understanding of a work or a corpus of works.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Alcázar Aranda, Antonio (2006). Analyse de la musique électroacoustique, genre acousmatique, à partir de son écoute : bases théoriques, méthodologie et but de la recherche, conclusions
Appleton, Jon H. (1969). Re-evaluating the Principle of Expectation in Electronic Music
Ashley, Richard (1991). Two Reponses
Bayle, François (2006). Une logique de sensations
Breitsameter, Sabine (2003). Acoustic Ecology and the New Electroacoustic Space of Digital Networks
Dashow, James (2002). Looking into Sequence Symbols
Delalande, François (1985). Perception des sons et perception des œuvres
Delalande, François (1986b). Pertinence et analyse perceptive
Delalande, François (1993). Analyser le style en musique électro-acoustique : approximation et pluralité en analyse comparative
Delalande, François (1998). Music Analysis and Reception Behaviours: {Sommeil} by Pierre Henry
Delalande, François (2002a). {Aquatisme}
Delalande, François, Iger, Anne-Claude (2002). Entretiens avec François Delalande
Heifetz, Robin Julian (1989a). Computer Music Warmware: The Human Perspective
Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
Landy, Leigh (2006a). The Intention/Reception Project
Landy, Leigh (2007d). The ElectroAcoustic Resource Site (EARS)
McCartney, Andra (2000d). Sounding Places with Hildegard Westerkamp
McCartney, Andra (2002a). Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp’s {Cricket Voice} (or ‘I don’t like the country, the crickets make me nervous’)
Milicevic, Mladen (1998). Deconstructing Musical Structure
Norman, Katharine (1994). Telling Tales
Slawson, Wayne A. (1975). Sound, Electronics, and Hearing
Smalley, Denis (1991). Spatial Experience in Electro-acoustic Music
Tanzi, Dante (1999). The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories
Tanzi, Dante (2004). Information Technology and Communication of Musical Experience: Categories, conflicts and intersections
Thies, Wolfgang (1985). Notationsmöglichkeiten für elektronische Musik (Possibilities of Electronic Music Notation)
Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University
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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