Narrative Modes in Acousmatic Music

Abstract

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.

Enactive Listening: Perceptual reflections on soundscape composition

“…Having established the principle of listening as a central aspect of soundscape composition, we may ask the question: then how exactly do we listen? As proposed by Andean (2016), a possible framework for contextualising the listening experience is that of narrativity. Andean claims that 'music is an inherently narrative art form ' (2016: 192).…”

“…With soundscape composition's origins in acoustic ecology (Westerkamp 2002), I aim to gain insight into how the perception of sound influences, shapes and informs the process of soundscape composition. Following Andean's (2016) conception of narrativity in acousmatic music, I will utilise a lens of narrative modes to frame the experience of listening in music. Subsequently, I will contextualise listening within the embodied mind and enactive perception to emphasise the multisensory nature of perception (Noë 2004(Noë , 2008Varela, Thompson and Rosch [1991] 2017) and bridge the connection between musical listening and everyday listening (Kendall 2010).…”

The Acousmatic Gap as a Flexile Path to Self-Understanding: A case for experiential listening

“…There are many examples of researchers attempting to understand how people experience and make meaning from acousmatic sound (many of which are in the back issues of Organised Sound, including Atkinson 2007;Andean 2016;Barreiro 2010;Batchelor 2015;Godøy 2006;Kendall 2010;and Kim 2010). They ask, how is electroacoustic music experienced in the mind?…”

Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling

“…Other sound materials used in acousmatic storytelling are predominately field recordings, archival sound material and cultural sound icons (e.g. musical quotations of national anthems or the sound of church bells) [30], each being able to create their own independent nonvocal narratives [34]. The combination of voice narration, field recordings, abstract sound and their subsequent transformation in time creates a multilayered story.…”