Source Recognition

Musicology of Electroacoustic Music [MEM]  >  Listening Experience  ]

Source Recognition refers to the ability of a listener to ascribe a real or imaginary physical origin or provenance to a sound. This is likely to be a great significance in Acousmatic listening situations, to the extent that it may become an aspect of the musical discourse. The term is closely allied to the concept of Timbre.

 

See also:

Abstract Sound, Acousmatic, Gesture, Mimesis, Referential Sound, Source Bonding, Spectromorphology, Surrogacy, Timbre

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Copeland, Darren (1998). Vers une conscience d’associations/For An Awareness Of Associations
Couprie, Pierre (2001b). Transcription globale : introduction à la représentation
Field, Ambrose (1996). An Introduction to Discovery Strategy
Hanson, Sten (1996). Autoanalysis?
Hoopen, Christiane ten (1994a). Issues in Timbre and Perception
Hoopen, Christiane ten (1997). Perceptions of Sound: Source, cause and human presence in electroacoustic music
IRCAM-Hyptique, (1999). Dix jeux d’écoute
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
McCartney, Andra (2000d). Sounding Places with Hildegard Westerkamp
Palombini, Carlos (1993a). Pierre Schaeffer: from Research into Noises to Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Palombini, Carlos (2002). Musique Concrète Revisited
Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?
Smalley, Denis (1993). Defining Transformations
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
Windsor, W. Luke (1997). Frequency Structure in Electroacoustic Music: Ideology, function and perception
Windsor, W. Luke (2000). Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds
Wishart, Trevor (1986a). Sound Symbols and Landscapes
Young, John (1994). The Extended Environment
Young, John (1996). Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music

 

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