200:
and sound processing are employed which may present us with sounds that are unfamiliar and that may defy clear source attribution. Acousmatic compositions may present us with familiar musical events: chords, melodies and rhythms which are easily reconcilable with other forms of music, but may equally
182:
Within academia the terms of acousmatic music and acousmatic art have gained common usage, particularly when referring to contemporary musique concrète; however, there is some dispute as to whether acousmatic practice relates to a style of composition or a way of listening to sound. Scruton defines
234:
by the composer (if present) but the role of interpreter can also be assumed by another practitioner of the art. To provide a guideline for the spatialization of the work by an interpreter, many composers provide a diffusion score; in its simplest form this might be a graphic representation of the
269:
Acousmatic music can be said to be that which calls for the listener to perceive sound with reduced or no sensibility to the sound's identity. The listening mode is oriented instead upon more abstract timbral than mimetic aspects of the sound. Pierre
Schaeffer has referred to this as
195:
Acousmatic music may contain sounds that have recognizably musical sources, but may equally present recognizable sources that are beyond the bounds of traditional vocal and instrumental technology. The technology involved transcends the mere reproduction of sounds. Techniques of
213:
Acousmatic compositions are sometimes presented to audiences in concert settings that are often indistinguishable from acoustic recitals, albeit without performers. In an acousmatic concert the sound component is produced using pre-recorded media, or generated in
251:, then, that the question turns around; "what am I hearing?... What exactly are you hearing" -in the sense that one asks the subject to describe not the external references of the sound it perceives but the perception itself."
174:, the outer circle of Pythagoras' disciples who only heard their teacher speaking from behind a veil. In a similar way, one hears acousmatic music from behind the 'veil' of loudspeakers, without seeing the source of the sound.
157:
from behind a screen so as not to let his presence distract them from the content of his lectures. Under these conditions, the listener focuses on the sounds being produced to heighten the sense of hearing. In 1955,
247:"The concealment of the causes does not result from a technical imperfection, nor is it an occasional process of variation: it becomes a precondition, a deliberate placing-in-condition of the subject. It is
133:. Using such technology various sound materials can be combined, juxtaposed, and transformed in any conceivable manner. In this context the compositional method can be seen as a process of what
258:
it is listened to, than by whether it is being played from a loudspeaker or not. In understanding the term 'acousmatic' appropriately, it is necessary to distinguish clearly between sound
278:
leads to the perception of music as acousmatic, in the sense that playing sounds from loudspeakers has the potential for obscuring their identity, as the visual reference is removed.
452:
Windsor, W. Luke (1995). "A Perceptual
Approach to the Description and Analysis of Acousmatic Music", PhD Thesis, City University Department of Music, September 1995, Sheffield.
432:
Bauer, Amy. "'Tone-Color, Movement, Changing
Harmonic Planes': Cognition, Constraints, and Conceptual Blends in Modernist Music", in Ashby, Arved Mark (ed.) (2004),
243:
In acousmatic music, listeners are challenged to distinguish sounds, not based on their source, but by their sonic quality. As Pierre
Schaeffer writes in his
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1975:
584:
Austin, Larry; Smalley, Dennis. "Sound
Diffusion in Composition and Performance: An Interview with Denis Smalley".
308:
Pierre
Schaeffer, 1953: towards an Experimental Music', an exegesis of Schaeffer's 'Vers une musique expérimentale'
772:
1767:
2495:
39:, as opposed to a live performance. It stems from a compositional tradition that dates back to the origins of
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620:
Desantos, Sandra; Roads, Curtis; Bayle, François. “Acousmatic
Morphology: An Interview with François Bayle.”
187:
paraphrases, "the sound world is not a space into which we can enter; it is a world we treat at a distance".
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2773:
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478:
Austin, Larry (2000). "Sound
Diffusion in Composition and Performance: An Interview with Denis Smalley".
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12/1 (April 2007) “Practice, process and æsthetic reflection in electroacoustic music,” pp. 35–58.
407:
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in the late 1940s. Unlike acoustic or electroacoustic musical works that are realized from scores,
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646:
6/2 — "Activités électroacoustiques au Québec / Electroacoustic
Activities in Quebec" (Fall 2003).
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may be present but more often consideration is given to sound-based characteristics such as
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to define the listening experience of musique concrète. It is said to be derived from
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that are purely acousmatic (in listening terms) often exist solely as fixed media
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Emmerson, Simon (2007). "Living
Electronic Music", Aldershot, Hants: Ashgate.
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McFarlane, Matthew W. (2001). "The Development of Acousmatics in Montréal",
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present us with events which cannot be classified within such a traditional
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piece with indications for spatial manipulations, relative to a time-line.
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A Perceptual Approach to the Description and Analysis of Acousmatic Music
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393:, Symposium Ina-GRM and France-Culture, Paris: Ina-GRM/Buchet-Chastel.
222:. The sound material will then be distributed spatially, via multiple
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Truax, Barry. “Composition and Diffusion: Space in Sound in Space.”
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Guide des objets sonores, Pierre Schaeffer et la recherche musicale
423:, 6.2, Journal of the Canadian Electroacoustic Community, Montreal.
219:
154:
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2007:
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According to certain historical accounts, the origin of the term
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674:.” Unpublished doctoral thesis. London: City University, 2005.
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Smalley, Denis. “Spectromorphology: Explaining Sound-Shapes.”
62:. Other aspects traditionally thought of as 'musical' such as
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1990:
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274:(reduced or narrowed-down listening). It can be said that an
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605:
Continuum Books (2002). collection of articles, many from
86:. Compositional materials can include sounds derived from
54:
The compositional practice of acousmatic music features
660:
2/2 (August 1997) “Frequency Domain,” pp. 107–126.
649:
Smalley, Denis. "Space-form and the Acousmatic Image".
94:, electronically generated sound, or sounds employing
667:
3/2 (August 1998) “Sound in Space,” pp. 141–146.
183:
the experience of sound as inherently acousmatic: as
402:
Dhomont, Francis (1996), "Is there a Quebec sound",
153:; the philosopher is believed to have tutored his
58:, sound which is heard but not seen, as a central
745:
346:(1960), De la musique concrète à l'acousmatique,
2839:
640:The Development of Electroacoustics in Montréal
254:That music is acousmatic is determined more by
109:The music is produced with the aid of various
731:
238:
738:
724:
566:: CS1 maint: location missing publisher (
2813:Music technology (electronic and digital)
548:
629:Rappel acousmatique / Acousmatic Update
603:Audio Culture: Readings in Modern Music
595:. Ina-GRM/Buchet-Chastel, Paris, 1983.
514:Audio Culture: Readings in Modern Music
310:, Music & Letters 74 (4): 542–557,
208:
2840:
477:
719:
588:24/2 (Summer 2000), pp. 10–21.
13:
601:Cox, Christopher; Warner, Daniel.
578:
512:Cox, Christopher; Warner, Daniel.
288:List of acousmatic-music composers
14:
2869:
2818:Recording studio as an instrument
700:
624:21/3 (Fall 1997), pp. 11–19.
436:. University of Rochester Press.
1976:Christian electronic dance music
27:, "a thing heard") is a form of
542:
519:
506:
471:
455:
434:The Pleasure of Modernist Music
177:
166:were the first to use the term
707:Stanza di Suono/ Room of Sound
446:
426:
413:
396:
389:(1989), "Peu importe le son",
380:
357:
337:
317:
300:
1:
2781:Electronic musical instrument
327:, London: Calder and Boyars.
293:
226:, using a practice known as "
137:termed "sound organisation".
532:, Paris: Éditions du Seuil.
370:, Paris: Éditions du Seuil.
7:
681:. London: Routledge, 1997.
323:Ouellette, Fernand (1973),
306:Palombini, Carlos (1998), "
281:
245:Treatise on Musical Objects
10:
2874:
554:Traité des objets musicaux
530:Traité des objets musicaux
408:Cambridge University Press
368:Traité des objets musicaux
140:
125:, or analog means such as
123:digital audio workstations
2803:Electronics in rock music
2764:Digital audio workstation
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1953:
1400:
1113:
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239:The acousmatic experience
119:digital signal processing
190:
2711:Progressive electronica
1751:Intelligent dance music
879:Sound system (Jamaican)
638:McFarlane, Matthew W. "
516:Continuum Books (2002).
492:10.1162/014892600559272
312:Oxford University Press
96:audio signal processing
35:for presentation using
1032:List of hip hop genres
758:Electronic dance music
622:Computer Music Journal
586:Computer Music Journal
480:Computer Music Journal
149:can be traced back to
1194:Electronic body music
842:Electroacoustic music
689:. Ebook reprint 2016
230:". The work is often
98:, as well as general
31:that is specifically
29:electroacoustic music
2491:Hyperpop microgenres
1155:Contemporary R&B
209:Performance practice
2101:Mainstream hardcore
1475:Chopped and screwed
864:Elektronische Musik
818:List of rock genres
749:-based music styles
670:Windsor, W. Luke. “
627:Dhomont, Francis. "
391:Le Son des musiques
88:musical instruments
2858:Experimental music
2310:Kawaii future bass
2290:Deconstructed club
1443:Breakbeat hardcore
1335:Martial industrial
1325:Industrial hip hop
1206:Ethnic electronica
1189:Electro-industrial
635:8/2 (Spring 1995).
350:, No. 280. Paris:
111:music technologies
2835:
2834:
2831:
2830:
2759:Data sonification
2509:
2508:
2496:Plugg microgenres
2481:Breakcore revival
2446:Slowed and reverb
2126:Post-punk revival
1827:Progressive house
1746:Industrial techno
1418:Asian underground
1350:Power electronics
1126:Alternative dance
985:Afro/cosmic music
940:Psychedelic music
695:978-1-1343-7333-8
687:978-3-7186-5847-3
677:Wishart, Trevor.
615:978-0-8264-1615-5
550:Schaeffer, Pierre
526:Schaeffer, Pierre
467:978-0-7546-5546-6
442:978-0-8153-3000-4
364:Schaeffer, Pierre
333:978-0-7145-0208-3
115:digital recorders
2865:
2853:Music technology
2848:Electronic music
2731:Video game music
2580:Acid house party
2518:
2517:
2465:Weird SoundCloud
2352:Melbourne bounce
2170:Shangaan electro
1731:Harsh noise wall
1490:Digital hardcore
1330:Industrial metal
950:Psychedelic rock
945:Psychedelic funk
935:Progressive rock
869:Live electronics
852:Musique concrète
847:Acousmatic music
793:Amplified guitar
783:
782:
778:decade of origin
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164:Pierre Schaeffer
104:field recordings
56:acousmatic sound
49:audio recordings
41:musique concrète
17:Acousmatic music
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2742:
2679:Chill-out music
2657:
2505:
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2238:
1949:
1812:Nu skool breaks
1396:
1109:
1044:Industrial rock
973:
915:Electronic rock
888:
803:Hawaiian guitar
776:
767:
750:
744:
713:
703:
665:Organised Sound
658:Organised Sound
651:Organised Sound
596:
591:Chion, Michel.
581:
579:Further reading
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2736:Adaptive music
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2426:Tropical house
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2399:Riddim (genre)
2396:
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2379:Outsider house
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2280:Brazilian bass
2277:
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2270:Big room house
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2219:Vocaloid music
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1756:Drill 'n' bass
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1707:Lento violento
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1458:Toytown techno
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1453:Happy hardcore
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1423:Baltimore club
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1413:Ambient techno
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1385:Detroit techno
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272:écoute réduite
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2020:Electro house
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135:Edgard Varèse
132:
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100:sound effects
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22:
18:
2786:Drum machine
2696:Doujin music
2684:Lounge music
2641:Street dance
2595:EDM festival
2548:Sound system
2514:Other topics
2389:Post-dubstep
2342:Lofi hip hop
2317:Future house
2143:Reductionism
2111:Nintendocore
2035:Fidget house
1986:Coupé-décalé
1926:Speed garage
1741:Indietronica
1645:Ghetto house
1623:French house
1613:Electroclash
1569:Ragga jungle
1480:Dark electro
1380:Bleep techno
1360:Sophisti-pop
1298:Jersey sound
1211:Funk carioca
1167:Dark ambient
1071:Minimal wave
846:
762:
756:
712:
679:On Sonic Art
678:
664:
657:
650:
643:
632:
621:
606:
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592:
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553:
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529:
521:
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486:(2): 10–21.
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244:
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231:
224:loudspeakers
212:
194:
181:
178:Developments
172:akousmatikoi
171:
168:acousmatique
167:
146:
144:
108:
53:
45:compositions
32:
24:
16:
15:
2796:Synthesizer
2701:Lo-fi music
2646:House dance
2629:Rare groove
2553:Turntablism
2538:Disc jockey
2486:Drift phonk
2367:Moombahsoul
2362:Moombahcore
2322:Future soul
2305:Future bass
2300:Funktronica
2285:Bro-country
2224:Witch house
2192:Tecno brega
2086:Jersey club
2030:Dutch house
1884:Progressive
1822:Power noise
1768:Livetronica
1618:Folktronica
1594:Liquid funk
1584:Intelligent
1579:Atmospheric
1470:Changa tuki
1465:Broken beat
1408:Ambient dub
1375:Acid techno
1365:Synth-metal
1226:Tecnocumbia
1138:Ambient pop
1093:Italo disco
1012:Electropunk
990:Space disco
962:Space music
955:Sampledelia
764:Electronica
597:(in French)
556:. Le Seuil.
185:Lydia Goehr
2842:Categories
2769:Drum break
2716:Rave music
2706:Madchester
2669:Bass music
2651:Rave dance
2600:Free party
2565:Microgenre
2436:Hardvapour
2374:Mumble rap
2357:Moombahton
2347:Mahraganat
2275:Black MIDI
2185:Sovietwave
2160:Russ music
2091:Juke house
2064:Hauntology
2025:Complextro
2013:Reggaestep
1778:Microhouse
1773:Merenhouse
1692:Frenchcore
1687:Free tekno
1655:Ghettotech
1603:Dub techno
1500:Diva house
1495:Disco polo
1485:Denpa song
1428:Bhangragga
1340:Miami bass
1231:Turbo-folk
1201:Electropop
1172:Dubtronica
1088:Dance-rock
1083:Dance-punk
1078:Post-disco
1039:Industrial
1017:Euro disco
967:Space rock
857:Tape music
747:Electronic
354:: 111–123.
294:References
262:and sound
151:Pythagoras
147:acousmatic
131:turntables
113:, such as
2570:Nightclub
2533:Club drug
2528:Beat drop
2431:Vaporwave
2406:Rara tech
2295:Dreampunk
2250:Afroswing
2234:Wonky pop
2180:Synthwave
2148:Lowercase
2106:Nightcore
2096:Jumpstyle
2074:Chillwave
1996:Crunkcore
1981:Cloud rap
1961:Afrobeats
1921:Breakstep
1911:UK garage
1899:Uplifting
1837:Reggaeton
1817:Post-rock
1763:Kidandali
1724:Speedcore
1702:Hardstyle
1682:Breakcore
1640:Futurepop
1552:Neurofunk
1512:Downtempo
1303:Hip house
1243:Eurodance
1182:Freestyle
1143:Breakbeat
1121:Acid jazz
1105:Synth-pop
1066:Dark wave
1061:Cold wave
1051:Japanoise
1007:Dancehall
925:Krautrock
920:Jazz-funk
644:eContact!
633:eContact!
562:cite book
538:301664906
421:eContact!
376:301664906
249:toward it
216:real-time
198:synthesis
2823:Waveform
2619:Sampling
2605:Teknival
2458:Hardwave
2441:Mallsoft
2421:EDM trap
2416:Shamstep
2327:Hyperpop
2260:Amapiano
2255:Algorave
2212:Funkstep
2207:UK funky
2153:Onkyokei
2131:New rave
1966:Bassline
1943:Hard NRG
1938:Hardbass
1874:Hands Up
1859:Balearic
1807:Nu metal
1788:Schaffel
1736:Illbient
1667:Hardcore
1650:Footwork
1628:Nu disco
1589:Jazzstep
1557:Techstep
1547:Hardstep
1542:Darkstep
1527:Trip hop
1522:Psybient
1448:Darkcore
1433:Big beat
1345:New beat
1238:Eurobeat
1056:New wave
1002:Chiptune
832:Biomusic
607:The Wire
552:(1966).
528:(1966),
406:, 1(1),
366:(1966),
282:See also
264:identity
232:diffused
220:computer
218:using a
203:taxonomy
155:students
84:spectrum
37:speakers
33:composed
23:ἄκουσμα
2791:Sampler
2521:Culture
2411:Seapunk
2394:Brostep
2202:UK bass
2165:Sambass
2138:Rabòday
2057:Grindie
2008:Dubstep
1795:Nu jazz
1505:Hardbag
1273:Chicago
1263:Ambient
1177:Electro
1027:Hip hop
900:Ambient
500:7805124
141:Origins
121:tools,
68:harmony
25:akousma
2721:Reggae
2662:Genres
2634:Riddim
2560:Mashup
2543:DJ mix
2265:Azonto
2197:Trival
2175:Skweee
2116:Nortec
2079:Glo-fi
1971:Budots
1916:2-step
1849:Trance
1842:Dembow
1832:Psydub
1719:Mákina
1714:J-core
1697:Gabber
1662:Glitch
1635:Funkot
1575:Light
1564:Jungle
1538:Heavy
1438:Bitpop
1370:Techno
1318:Tribal
1283:Garage
1221:Kwaito
1216:Kuduro
1022:Hi-NRG
997:Boogie
773:Genres
693:
685:
613:
536:
498:
465:
440:
374:
352:Esprit
348:Esprit
331:
260:source
80:timbre
72:rhythm
64:melody
19:(from
2747:Tools
2691:Disco
2614:Remix
2474:2020s
2384:Plugg
2243:2010s
2229:Wonky
2121:Phonk
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1954:2000s
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1355:Ragga
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978:1970s
905:Drone
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2575:Rave
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2453:Wave
2332:Gqom
1894:Tech
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1258:Acid
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568:link
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