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Authors
Advisor(s)
Abstract(s)
The multiplicity of musical practices in Western art music that arose from the technological developments involving the use of electricity applied to music were particularly expressive after the Second World War. Their associated terminologies are varied: musique concrete, Elektronische Musik, acousmatique, cin´ema pour l’oreille, sonic art, among others. For the purpose of this text, their differences will not be tackled, but some of their underlying common characteristics, particularly the use of spatial concepts in acousmatic listening will be discussed. The decision to focus on acousmatic music concepts derives from the fact that most of the mentioned literature and musical concepts are grounded in musical traditions where space is a key element to understand this practice.
The focus on many of Annette Vande Gorne’s conceptualizations is not merely for the allusion to her work in the present volume, but rather for her centrality to and legacy within literature and music creation in the acousmatic music world.
This text is organized as follows: A theoretical short introduction to the use of space as a parameter in acousmatic music and some of the main perceptive features involved in such practice, followed by a brief description of acousmatic music techniques, such as those presented by Annette Vande Gorne, and their relations to gestures. The final section describes how I have been able in my own music compositions to enhance spatial polyphony through various techniques.
Description
Keywords
Expression Music Musical experience
Citation
Reis, J. (2022). Exploring polyphony in spatial patterns in acousmatic music. In E. Tomás Calderón, T. Gorbach, H. Tellioglu, & M. Kaltenbrunner (Eds.), Embodied Gestures (pp. 123–132). TU Wien Academic Press. https://doi.org/10.34727/2022/isbn.978-3-85448-047-1_11
Publisher
TU Wien Academic Press