In Musica/Realità 50/51 (divided in two parts) July 1996/November 1996, pp. 121-137/87-110.
Spectromorphology, Acousmatic, Gesture, Texture, Causality
Abstract: The art of music is no longer limited to the sounding models of instruments and voices. Electroacoustic music opens access to all sounds, a bewildering sonic array ranging from the real to the surreal and beyond. For listeners the traditional links with physical sound-making are frequently ruptured: electroacoustic sound-shapes and qualities frequently do not indicate known sources and causes. Gone are the familiar articulations of instruments and vocal utterance: gone is the stability of note and interval: gone too is the reference of beat and metre. Composers also have problems: how to cut an aesthetic path and discover a stability in a wide-open sound world, how to develop appropriate sound-making methods, how to select technologies and software. This article is also available in French (1995b) and English (1997).
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