“…The categorical analysis of the experiment results presented here highlights a substantial variety from one piece to another in terms of the cognitive determinants of the listener experience. In 1986, the composer Simon Emmerson suggested that even if the artist is not interested in manipulating the images associated with electronic music, the duality between mimetic and abstract contents must at least be taken into account (Emmerson 1986: 19). In the same article, Emmerson called for future research to investigate ‘deeper levels of symbolic representation and communication’ (21).…”
The highly rewarding experience of electronic music persists throughout our daily
lives. Our immediate environments are replete with events that emit sounds that are
extremely complex. Electronic music engages with the listening habits we take for
granted in our everyday lives, and reveals how intricate they can be. Inspired by
such intricacies, I have conducted a series of listening experiments with 80
participants over the course of three years to explore the cognition of electronic
music. In this article, I will first present the method and the results of this
experiment, including a categorical analysis of mental associations evoked by
different works of electronic music. Next, I will offer a discussion of narrativity
in electronic music supported by these results and diverse perspectives on
narrativity from a number of disciplines. I will then construct a definition of
gestures as narrative units in electronic music in relation to events in the
environment. In doing so, I will bring together various theories on electronic music
with not only the findings of the current study but also existing research on
auditory cognition.
“…The categorical analysis of the experiment results presented here highlights a substantial variety from one piece to another in terms of the cognitive determinants of the listener experience. In 1986, the composer Simon Emmerson suggested that even if the artist is not interested in manipulating the images associated with electronic music, the duality between mimetic and abstract contents must at least be taken into account (Emmerson 1986: 19). In the same article, Emmerson called for future research to investigate ‘deeper levels of symbolic representation and communication’ (21).…”
The highly rewarding experience of electronic music persists throughout our daily
lives. Our immediate environments are replete with events that emit sounds that are
extremely complex. Electronic music engages with the listening habits we take for
granted in our everyday lives, and reveals how intricate they can be. Inspired by
such intricacies, I have conducted a series of listening experiments with 80
participants over the course of three years to explore the cognition of electronic
music. In this article, I will first present the method and the results of this
experiment, including a categorical analysis of mental associations evoked by
different works of electronic music. Next, I will offer a discussion of narrativity
in electronic music supported by these results and diverse perspectives on
narrativity from a number of disciplines. I will then construct a definition of
gestures as narrative units in electronic music in relation to events in the
environment. In doing so, I will bring together various theories on electronic music
with not only the findings of the current study but also existing research on
auditory cognition.
“…Luc Ferrari’s reference to his ‘anecdotal’ recordings and to groundbreaking pieces such as Presque Rien No. 1 (Ferrari 1970) as ‘electroacoustic nature photographs’ (Pauli 1971: 41 in Emmerson 1986: 34–5) implies both the documenting and the framing of a landscape, and highlights the consequent subject–object relationship between photographer and landscape that we might associate with the capturing and collecting of photographs. We can track the development of the relationship between sound recordist and soundscape – as sonic/spatial self-narrative – through subsequent works in the field.…”
Section: Soundscape Composition As Self-narrativementioning
Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author's own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work.
“…Furthermore, Simon Emmerson proposes a ‘Language Grid’ using the dichotomies of ‘abstract’ vs ‘abstracted’ syntax and ‘aural’ vs ‘mimetic’ discourse (Emmerson 1986: 17–21) (Figure 4). By syntax, Emmerson is referring to the way that the composer arranges material – meaning that material can be arranged in an ‘abstract’ way such as by using mathematical models or other systems (as in Boulez or Stockhausen) or by using an ‘abstracted’, intuitive approach.…”
Section: The Audio Reality Effect and The Current State Of Scholarshipmentioning
confidence: 99%
“…By syntax, Emmerson is referring to the way that the composer arranges material – meaning that material can be arranged in an ‘abstract’ way such as by using mathematical models or other systems (as in Boulez or Stockhausen) or by using an ‘abstracted’, intuitive approach. By ‘aural’ discourse, Emmerson means basically the same as the classic ‘abstract/absolute’ musical category and by ‘mimetic’ discourse, Emmerson means music that makes use of materials which appear to be derived from everyday sounds (Emmerson 1986: 17–19, 24). In essence, Emmerson creates a grid that encompasses the continuum of compositional approaches from ‘abstract’ to ‘programmatic’ and from ‘intuitive’ to ‘systematic’ using my own terminology. Figure 4 Fischman’s graph of Emmerson’s Language Grid with my axis labels (Fischman 2008: 112).…”
Section: The Audio Reality Effect and The Current State Of Scholarshipmentioning
This article proposes the audio reality effect as a meaningful translation of Roland Barthes’s literary reality effect to the sonic realm. This refinement of transcontextuality and source recognition is applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Smalley, Fischman, Young, Norman and Field. Lastly, this study mimetically analyses2 seconds / b minor / waveby Michael Pisaro and Taku Sugimoto in order to demonstrate the relevance of mimesis and the audio reality effect for understanding current musical practice.
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