Acousmatic Music Research Papers - Academia.edu (original) (raw)

This article explores timescales within absolute and psychological times, and identifies the many factors that affect our perception of time passing and estimation of durations, which inevitably influence our perception of musical... more

This article explores timescales within absolute and psychological times, and identifies the many factors that affect our perception of time passing and estimation of durations, which inevitably influence our perception of musical structures; in particular, it discusses listening experiences, and theoretical approaches to psychological states and emotional responses. It proposes a process according to which the time-influencing factors operate between listener and music. The discussion is approached through the lens of the electroacoustic composer and makes references to short excerpts from the author’s work and related repertoire. However, as the article discusses time in relation to sound structures, it is also relevant to other time-based sound art and music.

The compositional method employed in the creation of acousmatic music may seem relatively straightforward, involving three primary stages which may be loosely described as follows: (1) composers choose a range of sounds to record (2) they... more

The compositional method employed in the creation of acousmatic music may seem relatively straightforward, involving three primary stages which may be loosely described as follows: (1) composers choose a range of sounds to record (2) they manipulate and transform those recordings in the studio, and (3) they allow form to develop gradually, and somewhat organically, as the process of manipulation and transformation unfolds. Such a method has been articulated in the writings of contemporary acousmatic composers, such as Smalley (2010) and Harrison (2013), yet it goes back all the way to the pioneering work of Pierre Schaeffer, who employed a similar approach almost seventy years ago (1952). In Schaeffer's day, the articulation of such a method may be justified; his search for a concrete music clearly involved a painstaking, and emotionally draining, search for a compositional approach that lacked precedents, systems, models or established approaches to composition. Today, the situation is somewhat different; the development of an acousmatic community, supported and maintained through the academy, has served to establish and perpetuate such a method as a significant and meaningful form of creative practice. The method itself, however, may be questioned: the process of selecting sound materials, the choice of established technologies employed to develop sounds, the aesthetic preoccupations of individuals and broader communities of practice, the evolution of a performance practice relative to such music, and the concerns and expectations of the listening public, are but some of the manifold factors that radically impinge upon and inform compositional practice. This paper offers an account of these various factors, ultimately suggesting that contemporary writings offer a mythological, rather than methodological, account of the compositional process. To demonstrate this point, it presents a brief discussion of the author's own work (Twin Cities), in which the methodological approach is outlined and discussed in the light of contemporary acousmatic practice.

In recent years, a significant number of musical philosophers have aligned themselves with the type-theory. According to this theory, which was popularised by Richard Wollheim (1980), musical works are types – abstract, generalised... more

In recent years, a significant number of musical philosophers have aligned themselves with the type-theory. According to this theory, which was popularised by Richard Wollheim (1980), musical works are types – abstract, generalised entities that are encountered in or through their various instances (performances and recordings), known as tokens – concrete, specific entities. Furthermore, musical works have been described as types of sound structures; although there is much debate as to the precise nature of such structures, this view has become something of a dominant ontological paradigm, and is frequently invoked to describe or explain the nature of performance interpretation and authenticity. This paper presents a bespoke type-theory designed to address music of the acousmatic tradition. It starts by suggesting that acousmatic works are types that are encountered in or through their various tokens. However, the language of sound structures requires some adjustment to account for the diverse kinds of compositional methods employed in the acousmatic tradition and, more importantly, the centrality of space. Accordingly, the term sound sculpture is proposed and explained, and various different types of sound sculptures are considered. The paper concludes by indicating future research goals that may build upon the type-theory and the notion of the acousmatic sound sculpture.

The portfolio presented comprises of five binaural acousmatic works composed primarily for headphone reproduction but also for multi-channel loudspeaker concert diffusion. The commentary traverses the programmatic and aesthetic... more

The portfolio presented comprises of five binaural acousmatic works composed primarily for headphone reproduction but also for multi-channel loudspeaker concert diffusion. The commentary traverses the programmatic and aesthetic considerations involved in the construction of the portfolio and the influence of the in-ear binaural method of recording and reproduction thereof. The spectral watermark (the effect of the recordist on the resulting recording), negative space (the space left by the recordist, subsequently occupied by the listener), spatial strategy and the contextually rich results of the method are discussed, along with their creative applications within the portfolio.

Electroacoustic music occupies a curious position within the arts. On the one hand, it appears to be aligned with the plastic arts, such as painting and sculpture; composers often refer to the haptic, kinaesthetic and even proprioceptive... more

Electroacoustic music occupies a curious position within the arts. On the one hand, it appears to be aligned with the plastic arts, such as painting and sculpture; composers often refer to the haptic, kinaesthetic and even proprioceptive nature of their compositional acts in terms of crafting, moulding and sculpting sounds in the studio. On the other hand, electroacoustic music appears be aligned with the performing arts, such as drama, dance and most forms of instrumental music; the proliferation of diffusion systems and the increasing sophistication of tools for real-time spatialisation lend credence to associations with traditional notions of performance practice. This paper seeks to demystify this ostensible paradox. It starts considering an ontological distinction that holds between the plastic arts and the performing arts, goes on to consider whether electroacoustic music is ontologically similar to one or the other, and concludes with the following point: electroacoustic music may be characterised by either plasticity or performance but, in many cases, it falls between these polarities. This observation may help to explain why some philosophers, aestheticians and musicologists have struggled to accept electroacoustic music whilst enabling one to identify where the unique value of this exciting and uncompromising art-form resides.

Beginning with a brief overview of acousmatic narrative, this article proposes that in listening to acousmatic music we select and move between distinct narrative modes, according to the requirements and implications of a given work, or... more

Beginning with a brief overview of acousmatic narrative, this article proposes that in listening to acousmatic music we select and move between distinct narrative modes, according to the requirements and implications of a given work, or shifting between modes as the work progresses. Similarities and differences with existing theory are considered. Ten narrative modes are proposed as relevant for acousmatic music and discussed. Finally, the appearance of narrative archetypes across multiple modes is considered, as well as similarities across other musics and other fields.

The nature of acousmatic music is considered through its relationship to videomusic, with particular reference to the author’s LEXICON, via a discussion of “the four ‘articles of faith’ of acousmatic music.” What can music with video tell... more

The nature of acousmatic music is considered through its relationship to videomusic, with particular reference to the author’s LEXICON, via a discussion of “the four ‘articles of faith’ of acousmatic music.” What can music with video tell us about music that is invisible?

Entre 2015 et 2019, François Bayle poursuit et synthétise sa quête du graal de l’écoute pure, au-delà des apparences et références terrestres. Qui ? (2016/19) - Comme…* (2017/19)- Sans… (2015/19) - Vers…* (2018/19) - Où ? (2015/19).... more

Entre 2015 et 2019, François Bayle poursuit et synthétise sa quête du graal de l’écoute pure, au-delà des apparences et références terrestres.
Qui ? (2016/19) - Comme…* (2017/19)- Sans… (2015/19) - Vers…* (2018/19) - Où ? (2015/19). 62', octophonique.
Notes d'écoute 1. rapides chez F.Bayle. 2. Plus analytique en studio "Métamorphoses d'Orphée" de Musiques & Recherches (Belgique)

This article considers the fabrication of aural landscapes and in particular the notion of trompe l’oreille —fabricated landscapes that are indistinguishable from reality. It involves the comparison of a number of sonic illusion types... more

This article considers the fabrication of aural landscapes and in particular the notion of trompe l’oreille —fabricated landscapes that are indistinguishable from reality. It involves the comparison of a number of sonic illusion types which clarify the latter concept and discusses technical and logistical issues relevant to its successful implementation before exploring the creative/compositional possibilities that it affords and its relevance within existing acousmatic theory and practice. I am especially interested in its possibilities as a means of subtly directing the reality into which it is incorporated and encouraging deeper environmental listening by the casual observer, which has obvious ramifications in terms of acoustic ecology. As such it is perhaps worth considering as a means of allying soundscape and acousmatic approaches to sound and sound design. These issues will be discussed with reference to examples from my own and others’ work, and in particular with an emphasis on multichannel presentation environments which accommodate this practice.

Against the backdrop of what I would like to call ‘radical vocality’ as a notion to reconsider vocal art history, I will focus on the social and aesthetic implications of extended techniques – including body movements – in vocal... more

Against the backdrop of what I would like to call ‘radical vocality’ as a notion to reconsider vocal art history, I will focus on the social and aesthetic implications of extended techniques – including body movements – in vocal performance art. Starting from the disposition of the human singing voice – if we can conceive such a thing – and its extensions as well as its distortions by means of technology, I will discuss a conceptual framework that re-attaches the aesthetic implications of the phonographic practice, such as it developed through ‘schizophonia’ and interactivity, to the social realm of experience in terms of vocal space, vocalic body, activism of voice, the listener’s attention, acoustic community and finally, aurality. My contribution will bring together some of my latest research on interactive music, locative media and other new forms of connectivity in an attempt to conceptualize and analyze a rehabilitated sense of ‘community’ through the experience of voice in the digital age.

Cet article présente la collaboration entre la compagnie musicale Motus et l’Institut de recherche en musicologie (IReMus) sur l’analyse de l’interprétation de la musique acousmatique. Cette étude systématique a nécessité le développement... more

Cet article présente la collaboration entre la compagnie musicale Motus et l’Institut de recherche en musicologie (IReMus) sur l’analyse de l’interprétation de la musique acousmatique. Cette étude systématique a nécessité le développement de deux logiciels dans l'environnement Max pour la captation et l’analyse des interprétations. Sur le plan musicologique, ces logiciels ont permis de préciser les caractéristiques d’une interprétation acousmatique. Les logiciels se sont aussi avérés être particulièrement adaptés à un usage pédagogique dans la formation des jeunes interprètes. Enfin, cette étude a mis en évidence de nouvelles perspectives dans le domaine de la captation et de l’étude de l’interprétation acousmatique.

Alto-recorder and fixed medium piece, performed by Erik Bosgraaf.

In an attempt to begin to redress the relative lack of literature focused on rhythm in acousmatic music, this article is intended as a brief look at the acousmatic perspective on rhythm. The article begins with a quick overview of... more

In an attempt to begin to redress the relative lack of literature focused on rhythm in acousmatic music, this article is intended as a brief look at the acousmatic perspective on rhythm. The article begins with a quick overview of discussion around rhythm in electroacoustic music in general, then contrasts this with some of Pierre Schaeffer’s views on rhythm and nally compares the perceptual temporal levels identi ed by Schaeffer with similar levels drawn from electroacoustic music, contemporary music and cognitive psychology.

In diesem Text argumentiert Dr. Pieter Verstraete dass die interaktive Musik und ihre Technologien bis heute eine enorme Anziehungskraft besitzen, die ihnen – obwohl sie inzwischen bereits fast ein halbes Jahrhundert alt sind – bis heute... more

In diesem Text argumentiert Dr. Pieter Verstraete dass die interaktive Musik und ihre Technologien bis heute eine enorme Anziehungskraft besitzen, die ihnen – obwohl sie inzwischen bereits fast ein halbes Jahrhundert alt sind – bis heute eine quasi magische Aura verleiht, welche die zugrunde liegenden Mechanismen und experimentellen Kategorien verschleiert, die diese Beziehungen ausmachen. Stattdessen hat die neu entflammte Begeisterung für die körperlose Stimme in der interaktiven Musik in jüngster Zeit zu einem neuen „Empirismus der Geste“ in der akademischen Lehre geführt, der sich jeglichen Fragen nach sozialen und ästhetischen Einflüssen (in eine umfassendere „sozio-ästhetische“ Kritik) entzieht. Seiner These zufolge ebnete die „radikale Vokalität“, die von der menschlichen Stimme in der Maschine propagiert wird, den Weg für eine ganze Reihe von verblüffenden und „unheimlichen“ Experimenten, die ihrerseits die ästhetische Rezeption zeitgenössischer und experimenteller Kunstmusik veränderte. In seiner Argumentation sollen die körperlosen Stimmen „demaskiert“ werden, die hinter den Arbeiten der zwei wohl bedeutendsten Musiker, Sänger und Performer dieser Musikrichtung stehen. Ihre Werke sind selbst-reflexiv und loten die Möglichkeiten der Techniken und Technologien, die sie nutzen, immer neu aus: Die Rede ist von der schweizerischen Vokalistin, Sängerin und Klangkünstlerin Franziska Baumann und dem deutschen Sänger und Komponisten Alex Nowitz. Verstraete nehmt eine Analyse von Baumanns Electric Renaissance und Nowitz’ Studies for Selfportrait vor. In ihrer Gestenhaftigkeit offenbaren beide Werke ein Spannungsfeld, das sich zwischen autobiografischen Spuren der Stimme und den in ihren Performances geborenen musical/vocal personae bewegt.

Introduction to Expressive Elements in Music

Early Morning - stereo acousmatic work, winner of Metamorphoses composition competition, category B. Published on CD Métamorphoses 2006

This article considers the fabrication of aural landscapes and in particular the notion of trompe l’oreille —fabricated landscapes that are indistinguishable from reality. It involves the comparison of a number of sonic illusion types... more

This article considers the fabrication of aural landscapes and in particular the notion of trompe l’oreille —fabricated landscapes that are indistinguishable from reality. It involves the comparison of a number of sonic illusion types which clarify the latter concept and discusses technical and logistical issues relevant to its successful implementation before exploring the creative/compositional possibilities that it affords and its relevance within existing acousmatic theory and practice. I am especially interested in its possibilities as a means of subtly directing the reality into which it is incorporated and encouraging deeper environmental listening by the casual observer, which has obvious ramifications in terms of acoustic ecology. As such it is perhaps worth considering as a means of allying soundscape and acousmatic approaches to sound and sound design. These issues will be discussed with reference to examples from my own and others’ work, and in particular with an emphasi...

Escapade included on the ICMC CD (2011) after being rated as one of the 'top works' submitted.

In recent years, the art of sound diffusion has received a great deal of critical and theoretical attention. Some of this attention has helped to rationalise the role and function of sound diffusion (Harrison, 1999a; 1999b; 2010; 2011,... more

In recent years, the art of sound diffusion has received a great deal of critical and theoretical attention. Some of this attention has helped to rationalise the role and function of sound diffusion (Harrison, 1999a; 1999b; 2010; 2011, MacDonald 1995; Smalley 1991), in other cases it has clarified the technical affordances and constraints of different diffusion systems (Emmerson 2007; Clozier 1998; Mooney 2005; Savouret 1998), and in certain recent cases, contributors have attempted to describe diffusion as a meaningful form of performance practice (Dack 2001; Stansbie 2013). During the same period of time, relatively little has been said about the nature of performance interpretation within such a practice. This is, at least in part, because interpretation is all too easily viewed as a purely subjective matter, resistant to prescriptive recommendations. This paper rejects such a view. It starts by outlining various reasons why the acousmatic, electroacoustic community must articulate the complex nature of performance interpretation, before considering some of the numerous barriers that must be overcome if they are to succeed. It goes on to offer a starting point, focusing upon the complex relations that hold between acousmatic works and their performances. In doing so, a fundamental distinction between corrective and expressive acts of diffusion is identified and discussed and, although this suggests a simple bifurcation of the interpretative act, this facilitates a discussion of the manifold decisions that interpreters must balance and navigate. The paper concludes with a series of case studies, in which interpretative acts are discussed relative to specific works.

The Klangdom is an audio spatialization instrument developed at the Institut fur Musik und Akustik at the ZKM. It is made up of 39 Meyer Sound loudspeakers hung on four sliding tracks, allowing for easy re-configuration of the speaker... more

The Klangdom is an audio spatialization instrument developed at the Institut fur Musik und Akustik at the ZKM. It is made up of 39 Meyer Sound loudspeakers hung on four sliding tracks, allowing for easy re-configuration of the speaker setup. The audience sits inside the Klangdom, which can be controlled either directly via a mixer, by externally developed software, or by a sequencer for sound movement, Zirkonium, developed at the ZKM. Zirkonium can accept and spatialize audio generated by other applications (even on remote machines) and can simulate the Klangdom over alternate speaker setups to aid composition and dissemination (e.g., in stereo or 5.1).

60 years on from Pierre Schaeffer’s call for ‘primacy of the ear’ [‘primauté de l’oreille’] (Schaeffer 1957) and Denis Smalley’s reassertion of ‘the primacy of aural perception’ (Smalley 1986) in music theory and composition, this paper... more

60 years on from Pierre Schaeffer’s call for ‘primacy of the ear’ [‘primauté de l’oreille’] (Schaeffer 1957) and Denis Smalley’s reassertion of ‘the primacy of aural perception’ (Smalley 1986) in music theory and composition, this paper asks an ostensibly simple question: whose ear / aural perception is being referred to when we talk of and compose under this guiding principle? Is there a tacit preselected audiometric norm or even a pair of golden ears, at its core? The paper will problematise the uncompromising modernist notion
espoused by Babbitt of a ‘suitably equipped receptor’ (Babbitt 1958), and posit examples of well-known composers whose hearing markedly diverged from the otologically normal, an acoustics standard from which A-weighted decibels is predicated (ISO 226:2003). In conclusion the concept of auraldiverse hearing is proposed and creative strategies that eschew or problematise auraltypical archetypes in sonic arts practice and theory wherever they may lie are encouraged.

This thesis investigates the problems of describing and analysing music that is composed for, and presented from, a fixed medium, and diffused over loudspeakers with minimal intervention, especially where such music resembles everyday... more

This thesis investigates the problems of describing and analysing music that is composed for, and presented from, a fixed medium, and diffused over loudspeakers with minimal intervention, especially where such music resembles everyday sounds as much as it does traditional musical material. It is argued that most existing theories of acousmatic music are closely tied to prescriptive rather than descriptive concerns, and concentrate upon intrinsic aspects of acousmatic music to the detriment of its extrinsic potential. In contrast to such approaches a method of description based upon an ecological theory of listening which accounts for the relationship between structured information and the perception of events is proposed. This descriptive approach is used as the basis for analysing acousmatic pieces, revealing a complex interpretative relationship between listener, piece and environment. Such an approach, it is argued, accounts for those aspects of acousmatic music excluded by most current approaches, but more importantly provides a theoretical framework. within which descriptions may be arrived at which avoid the prescriptive bias of exisiting theories. The perspective provided by this analytical approach is reinterpreted through a critical approach to aesthetics, showing how acousmatic music can be seen as both autonomous and mimetic and how the dialectic between these two aspects is potentially critical of our relationship with the world. The relationship between musical techniques, materials and technology is discussed in response to this perspective showing how acousmatic music might be regarded as part of a broader aesthetic context. In conclusion, it is argued that acousmatic music does not merely challenge the view that music is primarily self-referential, but also that it reaffirms the possibility that music may be both intrinsically and extrinsically significant.

Finalists of Contemporanea Competition 2010 - Electro-acoustic section
Includes Escapade, composed in 2010

Includes:
- Isthmus, Movements 1, 2 and 3,
- Early Morning
- Parenthesis
- Point of Departure
- Escapade

"https://vimeo.com/fluxations/psfirstsoloside FluxNOISations solo from an improvised duet performed with FluxNoisations and circuit-bent radio (for front on view of the complete performance visit:... more

"https://vimeo.com/fluxations/psfirstsoloside FluxNOISations solo from an improvised duet performed with FluxNoisations and circuit-bent radio (for front on view of the complete performance visit: http://www.youtube.com/watch?v=8eBra9gd5QQ ) In this solo, Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves) All sounds and graphics are generated in the moment of performance. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound."