Imagining the source: The interplay of realism and abstraction in electroacoustic music.

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dc.contributor.author Young, John
dc.date.accessioned 2011-03-24T15:18:53Z
dc.date.available 2011-03-24T15:18:53Z
dc.date.issued 1996
dc.identifier.citation Young, J. (1996) Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music. Contemporary Music Review: A Poetry of Reality: Sampling the Real World 15 (1): 73-93. en
dc.identifier.isbn 3718659328
dc.identifier.issn 0749-4467
dc.identifier.other CMUREP 15.1-2 1-180
dc.identifier.uri http://hdl.handle.net/2086/4776
dc.description.abstract This paper examines ways in which composers of electroacoustic music can create virtual and surreal sound worlds through: (1) the combination of recognisable sound events which may not normally coexist in physical Reality, and (2) distinctions between sounds of recognisable real-world origin and processed or synthetic sounds which appear disassociated from known physical contexts, thereby setting up a continuum between Reality and abstraction. These procedures are evaluated for their potential to evoke metaphorical meanings, by representing the simultaneous presence of the immediate physical world and more imaginatively defined “interior” one. The discussion includes analytical commentary on works by Wishart, Smalley, Dhomont, Truax, Cousins, Parmegiani and Lejeune. en
dc.language.iso en en
dc.subject source recognition en
dc.subject realism en
dc.subject abstraction en
dc.subject surrogacy en
dc.subject transformation en
dc.subject acousmatic en
dc.title Imagining the source: The interplay of realism and abstraction in electroacoustic music. en
dc.type Article en
dc.identifier.doi http://dx.doi.org/10.1080/07494469608629690
dc.researchgroup Music, Technology and Innovation Research Centre en
dc.peerreviewed Yes en


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