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Aesthetic Trends in Acousmatic Music
The influence of technology on the development of music is nothing new. For centuries, composers have looked for new resources – and new technologies have enabled composers to leap into the musical unknown.
In the twentieth century, this tendency continued with the application of electricity to instrument design, and the use of the microphone and amplification liberated singers from the need to ‘project’ as if they were on an opera stage. This course starts, however, from the proposition that it is the ability to record, store and manipulate sound that has had the most profound and paradigm-changing effect on the development of music, and that the impact and importance of this development are still misunderstood. After offering some definitions and considering the broad sweep of the history of acousmatic music over the past 60+ years, the course will examine some important ‘schools’ and composers, and identify some trends which transcend national boundaries.
Reference will be made to a substantial number of works and, in the last two sessions, students will be required to present case studies on specific pieces.
Zeitraum und Ort
Zeitraum: 19.04.2010 -
Wochentag / Zeit: Montag 15-18 Uhr (unregelmäßig)
Raum: E-N 324
29-31.7 Inventionen Festival, Elisabethkirche
Umfang: 2 SWS
Angebot im: SoSe 2010
Veranstaltungsnummer: 3135 L 304
HARRISON, JONTY, ‘Sound, Space Sculpture: Some Thoughts on the ‘What’, ‘How’ and ‘Why’ of Sound Diffusion’ in Organised Sound 3(2), 1998
HARRISON, JONTY, ‘Diffusion: theories and practices, with particular reference to the BEAST system’ in eContact [online journal] 2.4, 2000 http://cec.concordia.ca/econtact/Diffusion/diffindex.htm 
SMALLEY, DENIS, ‘Space-form and the acousmatic image’ in Organised Sound 12(1), 2007 WISHART, TREVOR, On Sonic Art (2nd edn., Amsterdam: Harwood Academic Publishers, 1996).