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Modes of Listening

Latest update : 4 May 2007.

Articles in this section

  • Italian definition

    4 maggio 2007, di Pierre Couprie

    Modalità di ascolto
    In francese Quatre Ecoutes, in inglese modes of listening, si tratta del concetto schaefferiano più conosciuto. L’idea primaria di Pierre Schaeffer è stata liberamente adattata e sviluppata nella letteratura francese (Michel Chion) e in quella inglese (Denis Smalley). La comprensione delle differenti motivazioni di (e dei meccanismi coinvolti nella) udizione e ascolto è uno degli assi fondamentali della ricerca e della creazione elettroacustica. Questa si sviluppa (...)

  • German definition

    17 February 2007, by Pierre Couprie

    Formen des Hörens

  • French definition

    3 December 2006, by Pierre Couprie

    Quatre écoutes
    Ce concept schaefferien est un des plus largement employés en anglais (modes of listening). L’idée originale de Pierre Schaeffer a été librement adaptée et développée à la fois en français (notamment par Michel Chion) et en anglais (par Denis Smalley). La compréhension des multiples motivations mises en œuvre lors (des mécanismes) d’une audition ou d’une écoute est toujours un axe fondamental de la recherche et de la création électroacoustique. Elle (...)

  • Spanish definition

    10 August 2006, by Rob Weale

    Modos de Escucha
    Uno de los conceptos de Pierre Schaeffer más ampliamente adoptados internacionalmente es el de los Modos de Escucha (Quatre écoutes). La idea de Schaeffer ha sido libremente adaptada y desarrollada en francés (notablemente por Michel Chion) y en inglés (especialmente por Denis Smalley). La comprensión de nuestras múltiples motivaciones (y mecanismos) para oír y escuchar continúan siendo de fundamental importancia para la práctica creativa y la investigación (...)

  • English definition

    9 January 2005, by Rob Weale

    One of the most internationally adopted concepts of Pierre Schaeffer is that of the Modes of Listening (Quatre Ecoutes). Schaeffer’s idea has been freely adapted and developed in French (notably by Michel Chion) and English (notably by Denis Smalley). Understanding of our multiple motivations for (and mechanisms of) hearing and listening continues to be of fundamental significance to electroacoustic research and creative practice, and has been futher developed through the fields of (...)