 |
 |
CU Home > Libraries Home | About | Help |
|
|
Columbia Dissertations and Theses > Doctoral Dissertations
|
|||||||||||||||||||||||||||||||||||||||
| Author(s): | Cox, Cathy Lynn |
| Title: | Listening to acousmatic music |
| Physical Description: | v, 180 leaves, bound : ill. ; 28 cm. |
| Issue Date: | 2006 |
| LC Subjects: | Electronic music -- Analysis, appreciation. |
| Description: | Department: Music. Thesis (Ph. D.)--Columbia University, 2006. |
| Bookmark as: | http://hdl.handle.net/10022/AC:P:6775 |
| Full Text (ProQuest): | /ac/proxit.jsp?url=http://gateway.proquest.com/ope... |
| Abstract: | This study contributes to the fledgling music-theoretical literature concerned with electroacoustic music. Specifically, it explores issues related to music composed for acousmatic listening---that is, music created using sound recording technology and experienced solely by means of diffusion through loudspeakers. Such music poses special challenges for the music theorist and analyst, as conventional analytical tools often emphasize pitch structures and the study of scores---elements often absent in acousmatic music. Attention to listening as an analytic tool has therefore gained prominence within existing theoretical literature concerned with electroacoustic music in general and acousmatic music in particular. Among the issues investigated in this study, then, are concepts of modes of listening and new models for ear training, drawing on the writings of Pierre Schaeffer, Denis Smalley, R. Murray Schafer, and others. Acousmatic music is also defined by the use of recorded environmental, or "everyday," sounds as raw compositional material; thus, questions regarding the relationship between sound and source (or implied source) are raised, leading to an investigation of concepts of mimesis in this music that stirs up nineteenth-century debates over absolute versus programmatic music. Issues of sound and source and how they may evoke a sense of virtual space or place in the listener play a part in analyses presented for Denis Smalley's Wind Chimes (1987), Hildegard Westerkamp's Cricket Voice (1987), Judy Klein's The Wolves of Bays Mountain (1998), as well as a discussion of Yves Daoust's Mi Bemol (1990). |
| Collection(s): | Doctoral Dissertations |
Copyright: All rights reserved.