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



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




flagyl fedex bupropion price at walmart in usa azithromycin 100mg tablets information antibiotic bactrim tizan usa super kamagra no prescription overnight modalert quetiapine more info about buy urimax online zocor cost omeprazole tablets metronidazole uk information about generic orlistat xenical nexium buy cheap in uk orlistat walmart 10 mg nexium bupropion xl a 102 prednisolone 25mg apcalis omeprazole discount sale flagyl over the counter tretinoin malegra fxt 140 mg nexium online order the drug femara buy cheap olanzapine information buy premarin online buy generic mirtazapine enalapril 2.5mg cheapest bactrim ds buy cheap olanzapine discount prilosec information about buy caverta online bupron sr 150 mg tretinoin cream bupropion 141 sr buy nexium without rx buy finasteride information buy bimatoprost vasotec official site otc zantac 150mg in canada generic nexium buy online information about bupropion xl 300mg best low price more levetiracetam manufacturer more info omeprazole canada more info nexium cap 20mg buy levitra online in mayami cheapest doxycycline in canada orlistat no prescription cheapest modalert uk dapoxetine fda approved price of azithromycin enalapril generic silagra tablets buy modalert online with master card viraday usa