Musicology of Electroacoustic Music [MEM]  >  Listening Experience  >  Source Recognition  ]

Denis Smalley has introduced this term as a means of describing the levels, or degrees, to which listeners perceptually relate sounds to real or imagined physical and gestural sources within an acousmatic listening situation. Surrogacy may describe the recognition of familiar instrumental or vocal production when reproduced in recorded form. As the degree of surrogacy becomes more remote, listeners may ascribe imagined causes to sounds and their spectromorphological evolution, or apprehend the sound as ’abstract’. Smalley terms these varying levels as ’orders of surrogacy’.


See also:

Abstract Sound, Acousmatic, Causality, Gesture, Referential Sound, Source Recognition, Spectromorphology



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Alphabetical order - Chronological order

Emmerson, Simon (1994b). ’Live’ versus ’Real-time’
Ferreira, Giselle Martins dos Santos (1997). A Perceptual Approach to the Analysis of J. C. Risset’s {Sud}: Sound, structure and symbol
MacDonald, Alistair (1995). Performance Practice in the Presentation of Electroacoustic Music
McLean, Priscilla (1989). Fire and Ice: An Inquiry
Smalley, Denis (1992). The Listening Imagination: Listening in the Electroacoustic Era
Smalley, Denis (1995a). The Listening Imagination: Listening in the Electroacoustic Era
Young, John (1994). The Extended Environment


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