Abstract
Sound Object
Musical or Acousmatic Context
Microsound
Note: Inner and Outer Complexity of Sound is based on the Acoustic Communication model of everyday sound
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Mapping The Real
Sonification/Audification <------------> Phonography
Real world data mapped onto / interpreted as sound
science in the service of art - or - art in the service of science?
Sound sculpture / installation activated by the real world
Re-mapping sound from the real world ----> virtual worlds
Representing The Real
(Soundscape Composition)
Phonography <------------> Imaginary worlds
Drever: representation of what? how and for whom? Ethnography vs sonic tourism
Wagstaff (TESE project): participant involvement
Feld: Acoustemology
Westerkamp: acoustic ecology, environmental activism and sustainability
Krause: niche hypothesis
the inverse relationship between generality and strength (after Simon & Newell)
B. Truax, "The Inverse Relation between Generality and Strength in Computer Music Programs", Interface, 9(1), 1980.
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Musical relationship to "outer complexity"
Internal Dominant (text) <---------------------> External Dominant (context) (e.g. musical "inspiration") <-- balanced interplay --> (e.g. sonification)
How can musical qualities be integrated with external referents?
PHYSICAL LEVEL
ACOUSTIC COMPOSITION ELECTROACOUSTIC COMPOSITION physical space or environment / interaction with same
temporal context ("occasional" music / ritual)
temporal markers
performers (specific individuals / gender / actor)
"enhanced" performer
audience / listening environment
indeterminate environment / media
SOCIAL LEVELdraws on the audience's knowledge of social, political, cultural (including media), economic, and environmental contexts evoked by the work through both text and soundscape
PSYCHOLOGICAL LEVEL
In particular, disembodied electroacoustic sound allows reference to:
- memory, imagery and emotions- metaphors and symbols
- narrative, myth and dreams
