Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

Marty, Nicolas

doi:10.1017/s1355771816000091

Cited by 3 publications

(1 citation statement)

References 9 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In terms of listening behaviours, I had shown that three macro-categories derived from Delalande’s were a functional way of describing listeners’ discourses (Marty 2018; Marty and Terrien 2014). With this data collection, there seems to be a functional way to describe listeners’ experiences as well, at least to a certain extent.…”

Section: Discussionmentioning

confidence: 99%

The Study of Acousmatic Listening Behaviours

Marty

2019

Org. Sound

Self Cite

View full text Add to dashboard Cite

In 1989, after ten years of research, François Delalande presented for the first time the idea of ‘listening behaviours’, distinguishing several ways to listen to the same piece of music. The methods did not allow for many conclusions, but the approach started a new field of research, where diverse listening behaviours could serve as a basis for diverse, exclusive (or even contradictory) analyses of the same work. Furthermore, Delalande’s preliminary research based on an extract from Pierre Henry’s music is still one of the few instances of research into acousmatic music listening that addresses actual listeners. The last 20 years have seen the reproduction and extension of Delalande’s results, as well as a growing interest in listening in musicological circles. For this reason, it seemed necessary to review research about listening behaviours to evaluate their operational validity and to propose a robust theoretical framework for their study and description. This paper addresses this problem using the elicitation interview for the description and interpretation of listeners’ testimonies. Drawing on testimonies from five listeners about a single extract of acousmatic music, it seems that, for Delalande’s model to be able to describe various listening experiences, it should be further detailed and completed with attention management processes. Further investigation is needed to allow the model to include some listening behaviours which were not recurrent enough here to make sense of them.

show abstract

Section: Discussionmentioning

confidence: 99%

The Study of Acousmatic Listening Behaviours

Marty

2019

Org. Sound

Self Cite

View full text Add to dashboard Cite

show abstract

Intensities and the Singular Assemblage: Time and Space

Burgh-Woodman

2018

Advertising in Contemporary Consumer Culture

View full text Add to dashboard Cite

Narrative Modes in Acousmatic Music

Andean

2016

Org. Sound

View full text Add to dashboard Cite

Beginning with a brief overview of acousmatic narrative, this article proposes that in listening to acousmatic music we select and move between distinct narrative modes, according to the requirements and implications of a given work or shifting between modes as the work progresses. Similarities and differences with existing theory are considered. Ten narrative modes are proposed as relevant for acousmatic music and discussed. Finally, the appearance of narrative archetypes across multiple modes is considered, as well as similarities across other musics and other fields.

show abstract

Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

Cited by 3 publications

References 9 publications

The Study of Acousmatic Listening Behaviours

The Study of Acousmatic Listening Behaviours

Intensities and the Singular Assemblage: Time and Space

Narrative Modes in Acousmatic Music

Contact Info

Product

Resources

About