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Something to Hold on to Factor

Latest update : 5 May 2007.

Articles in this section

  • Italian definition

    5 maggio 2007, di Pierre Couprie

    Something to Hold on to Factor
    Il cosiddetto something to hold on to factor ha a che fare con la realizzazione di opera musicale accessibile al pubblico. Con questa tecnica, il creatore di un lavoro offre al pubblico qualcosa da ritenere, orale o scritta. In musica elettroacustica, questo “qualcosa” (something) può essere il trattamento di alcuni parametri per creare omogeneità dei suoni piuttosto che la ricerca di suoni suoni, la densità di stratificazione, una certa forma di (...)

  • German definition

    17 February 2007, by Pierre Couprie

    Something to Hold on to-Faktor

  • French definition

    7 December 2006, by Pierre Couprie

    Something to Hold on to Factor
    Le something to hold on to factor a à voir avec la réalisation d’œuvres musicale accessible au public. Avec cette technique, les créateurs d’une œuvre offrent à leur public quelque chose qui tient compte de leurs appréciations orales et écrites. En musique électroacoustique, ce quelque chose (something) peut consister en un traitement des paramètres afin d’homogénéiser les sons ou en une recherche de nouveaux sons pour alimenter (...)

  • Spanish definition

    11 August 2006, by Rob Weale

    El factor "algo de donde tomarse"
    El factor "algo de donde tomarse" tiene que ver con el hacer a las obras musicales más accesibles para quienes las escuchan. Funciona del siguiente modo: los creadores de una obra le ofrecen al público "algo de donde tomarse" en términos de apreciación. Este "algo" en la música electroacústica puede ir desde el tratamiento de ciertos parámetros a la homogeneidad de los sonidos y/o de la búsqueda de nuevos sonidos, a la densidad de la estratificación o una (...)

  • English definition

    9 January 2005, by Rob Weale

    The ’something to hold on to factor’ has to do with making musical works accessible to the listener. It works as follows: the creators of a work offer their public something to hold on to in terms of appreciation in word and deed. This ’something’ in electroacoustic music can range treatment of parameters to homogeneity of sounds and/or the search for new sounds to the density of layering to an appropriate form of narrativity. This ’something’ does not (...)