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




more info about letrozole gyno femara generic availibility amitriptyline hcl 25mg diflucan pills in mayami bupropion 300 142 naltrexone 1 mg in united states buying omeprazole naltrexone 50 mg fluconazole 200mg bimatoprost prices in france buy levitra simvastatin generic approval in new york price lipitor 10mg nexium mail order nexium 40mg cost femara in uk information ciprofloxacn buy vardenafil cheap in mayami cheap metronidazole bactrim 60 mg plus smg drug vasotec in mexico info about clomid clomiphene citrate omeprazole cheap best way to take bactrim otc azithromycin generic prilosec from israel femara price discount isotretinion in mayami about ranitidine tablets 75mg femalegra 100mg more info cost of simvastatin flagyl fedex purchase hostacycline in new york buy mirtazapine online in mexico metronidazole uk buy mirtazapine online more info enalapril over the counter fluconazole price in mayami buy silagra 100 caverta in uk us s suhagra femara mexico bupropion xl 450 mg quinine sulphate gleevec discount in uk accutane medicine ranitidine hcl in new york amiloride sale buy generic a-ret purchase norvasc vasotec official site non prescription doxycycline buy prednisolone 5mg actavis bupropion xl in france more bactrim generic norvasc price doxycycline 100 mg buy waklert uk