Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-26T07:59:32.559Z Has data issue: false hasContentIssue false
  • English
  • Français

The Musical–Narrative Dichotomy: Sweet Anticipation and some implications for acousmatic music

Published online by Cambridge University Press:  06 July 2010

James Andean
James Andean*
Affiliation:
Centre for Music & Technology, Sibelius Academy, PO Box 86, FIN-00251 Helsinki, Finland
*
E-mail: jaandean@siba.fi
Get access Rights & Permissions [Opens in a new window]

Abstract

Acousmatic music is heavily informed by a central duality which lies at the heart of the art form, between the musical layer on the one hand, and the narrative layer on the other. Emphasis shifts between these two layers, and they interact to construct further layers of meaning. In his book Sweet Anticipation: Music and the Psychology of Expectation, David Huron proposes that our responses to musical stimuli are in fact identical to our responses to real-world stimuli, and follow the same processes. This appears to negate somewhat the dichotomy of musical and narrative layers. We propose a shift in perspective away from a vision of parallel musical and narrative layers, and towards a dualism built from staggered response times to different aspects of the same material.

Type
Articles
Information
Organised Sound , Volume 15 , Issue 2: Organising electroacoustic music , August 2010 , pp. 107 - 115
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adkins, M. 1999. Acoustic Chains in Acousmatic Music. Australasian Computer Music Conference Proceedings; 56–62.Google Scholar
Bayle, F. 2000. La langue inconnue (1973). On La musique électroacoustique. Paris: Ina-GRM.Google Scholar
Brown, A. S. 2004. The Déjà Vu Experience. New York: Psychology Press.CrossRefGoogle Scholar
Dhomont, F. 1996. Points de fuite (1982). On Cycle de l’errance. Montreal: Empreintes Digitales.Google Scholar
Emmerson, S. 1986. The Relation of Language to Materials. In S. Emmerson (ed.) The Language of Electroacoustic Music. London: Macmillan.CrossRefGoogle Scholar
Ferrari, L. 2004. Presque rien (1970–77). On Presque rien. Paris: Ina.Google Scholar
Ferrari, L. Gayou, E. 2007. Avec, de, sur… Entretien de Luc Ferrari. In Portraits Polychromes No. 1: Luc Ferrari. Paris: INA-GRM/CDMC.Google Scholar
Harrison, J. 2004. …et ainsi de suite… (2002). On Etc., Albany, NY: EMF.Google Scholar
Huron, D. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
Landy, L. 2007. Understanding the Art of Sound Organization. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
Meyer, L. B. 1956. Emotion and Meaning in Music. Chicago, IL: The University of Chicago Press.Google Scholar
Mion, P. 2000. Fable de l’être et du paysage: Dialectique de l’unique et du multiple. On La musique électroacoustique. Paris: Ina-GRM.Google Scholar
Nattiez, J.-J. 1990. Music and Discourse: Toward a Semiology of Music. Princeton, NJ: Princeton University Press.Google Scholar
Roy, S. 1996. Form and Referential Citation in a Work by Francis Dhomont. Organised Sound 1(1): 29–41.CrossRefGoogle Scholar
Schaeffer, P. 1966. Traité des objets musicaux. Paris: Le Seuil.Google Scholar
Smalley, D. 1986. Spectro-morphology and Structuring Processes. In S. Emmerson (ed.) The Language of Electroacoustic Music. London: Macmillan.Google Scholar
Smalley, D. 1992. The Listening Imagination: Listening in the Electroacoustic Era. In J. Paynter et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge.Google Scholar
Smalley, D. 1994. Defining Timbre, Refining Timbre. Contemporary Music Review 10(2): 35–48.CrossRefGoogle Scholar
Smalley, D. 2000. Pentes (1974). On Sources/Scènes. Montreal: Empreintes Digitales.Google Scholar
Truax, B. 2001. Acoustic Communication. Westport, CT: Ablex Publishing.Google Scholar
Windsor, W. L. 1995. A Perceptual Approach to the Description and Analysis of Acousmatic Music. City University: Unpublished doctoral dissertation.Google Scholar
Wishart, T. 1986. Sound Symbols and Landscapes. In S. Emmerson (ed.) The Language of Electroacoustic Music. London: Macmillan.Google Scholar
Wishart, T. 1996. On Sonic Art. Amsterdam: Harwood Academic Publishers.CrossRefGoogle Scholar
Wishart, T. 2000. Red Bird (1980). On Red Bird/Anticredos, Albany, NY: EMF.Google Scholar
Young, J. 1996. Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music. Contemporary Music Review 15(1–2): 73–93.CrossRefGoogle Scholar
Young, J. 2007. Reflections on Sound Image Design in Electroacoustic Music. Organised Sound 12(1): 25–33.CrossRefGoogle Scholar