Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music

References

• Bregman , A. S. Auditory Scene Analysis: Hearing in Complex Environments . In Thinking in Sound edited by S. McAdams & E. Bigand pp. 10 – 36 . Oxford : Clarendon Press .
   Google Scholar
• Camilleri , L. ( 1993 ) Electroacoustic Music: Analysis and Listening Processes . Sonus- Contemporary Music Material, Special Issue , pp. 39 – 47 .
   Google Scholar
• Dack , J. ( 1989 ) The Relationship between Electro-Acoustic Music and Instrumental/Vocal Composition in the Period 1948–70 . Ph.D. Thesis, Middlesex Polytechnic, Faculty of Education and Performing Arts .
   Google Scholar
• Devitt , M. 1984 . Realism and Truth , Oxford : Basil Blackwell .
   Google Scholar
• Emmerson , S. 1986 . “ The Relation of Language to Materials ” . In The Language of Electroacoustic Music , Edited by: Emmerson , S. 17 – 39 . London : Macmillan .
   Google Scholar
• Fischman , R. 1994 . Music for the Masses . Journal of New Music Research , 23 : 245 – 264 .
   Web of Science ®Google Scholar
• Jung , C.G. ( 1964 ) Editor . Man and His Symbols . London : Aldus .
   Google Scholar
• McAdams , S. 1987 . Music: A Science of the Mind? . Contemporary Music Review , 2 ( 1 ) : 1 – 61 .
   Google Scholar
• McAdams , S. 1993 . “ Recognition of Sound Sources and Events ” . In Thinking in Sound , Edited by: McAdams , S. and Bigand , E. 146 – 198 . Oxford : Clarendon Press .
   Google Scholar
• Nattiez , J-J. 1990 . Music and Discourse: Towards a Semiology of Music , Princeton, NJ : Princeton University Press .
   Google Scholar
• Popper , K. and Eccles , J. 1977 . The Self and its Brain , Berlin : Springer International .
   Google Scholar
• Saariaho , K. 1987 . Timbre and Harmony: Interpolations of Timbral Structures . Contemporary Music Review , 2 ( 1 ) : 93 – 133 .
   Google Scholar
• Schaeffer , P. 1966 . Traité des objets musicaux , Paris : Éditions du seuil .
   Google Scholar
• Schafer , R.M. 1977 . The Tuning of the World , New York : Knopf .
   Google Scholar
• Smalley , D. 1986 . “ Spectro-morphology and Structuring Processes ” . In The Language of Electroacoustic Music , Edited by: Emmerson , S. 61 – 93 . Macmillan : London .
   Google Scholar
• Smalley , D. ( 1991a ) Acousmatic Music: Does it Exist? Revue d'esthetique musicale, Vous avez dit Acousmatique? Belgium , pp. 21 – 22 .
   Google Scholar
• Smalley , D. ( 1991b ) Spatial Experience in Electroacoustic Music . Revue d'esthetique musicale, L'Espace du Son II , Belgium , pp. 121 – 124 .
   Google Scholar
• Smalley , D. 1992 . “ The Listening Imagination: Listening in the Electroacoustic Era ” . In Companion to Contemporary Musical Thought , Edited by: Paynter , J. , Howell , T. , Orton , R. and Seymour , P. Vol. 1 , 514 – 554 . London/New York : Routledge .
   Google Scholar
• Smalley , D. 1993 . Defining Transformations . Interface , 22 : 279 – 300 .
   Google Scholar
• Smalley , D. (in press). Spectromorphology: Explaining Sound Shapes . In Practiques artistiques et nouvelles technologies edited by F. Dhomont , L. Poissant et al. Montréal : Presses de I'Université de Québec .
   Google Scholar
• Truax , B. 1990 . Composing with Real-Time Granular Sound . Perspectives of New Music , 28 ( 2 ) : 120 – 134 .
   Web of Science ®Google Scholar
• Truax , B. 1992a . Composing with Time-Shifted Environmental Sound . Leonardo Music Journal , 2 ( 1 ) : 37 – 40 .
   Google Scholar
• Truax , B. 1992b . “ Electroacoustic Music and the Soundscape: The Inner and Outer World ” . In Companion to Contemporary Musical Thought, volume 1 , Edited by: Paynter , J. , Howell , T. , Orton , R. and Seymour , P. 374 – 398 . London/New York : Routledge .
   Google Scholar
• Truax , B. 1992c . Musical Creativity and Complexity at the Threshold of the 21st Century . Interface , 21 : 29 – 42 .
   Google Scholar
• Truax , B. 1994 . Discovering the Inner Complexity: Time-Shifting and Transposition with a Real-Time Granulation Technique . Computer Music Journal , 18 ( 2 ) : 38 – 48 .
   Web of Science ®Google Scholar
• Wishart , T. 1978 . Red Bird: A Document , York : Published by Trevor Wishart .
   Google Scholar
• Wishart , T. 1985 . On Sonic Art , York : Imagineering Press .
   Google Scholar
• Wishart , T. 1986 . “ Sound Symbols and Landscapes ” . In The Language of Electroacoustic Music , Edited by: Emmerson , S. 41 – 60 . London : Macmillan .
   Google Scholar
• Wishart , T. 1988 . The Composition of Vox-5 . Computer Music Journal , 12 ( 4 ) : 21 – 24 .
   Web of Science ®Google Scholar
• Wishart , T. 1993 . From Architecture to Chemistry . Interface , 22 : 301 – 315 .
   Google Scholar
• Young , J. 1991 . Sign Language: Source Recognition of Environmental Sounds in Electroacoustic Music , 22 – 29 . Wellington : Canzona .
   Google Scholar
• Young , J. ( 1994 ) The Extended Environment . Proceedings of the 1994 International Computer Music Conference , Aarhus : International Computer Music Association/Danish Institute of Electroacoustic Music , pp. 23 – 26 .
   Google Scholar
• Cousins , J. Tense Test . On Sleep Exposure . Ode Records, CD Manu 1436 , 1993 .
   Google Scholar
• Dhomont , F Chiaroscuro . On Mouvances-Métaphores 2. Les dérives du signe . Emprientes Digitales, Diffusion i Media , IMED-9107/08-CD , 1991 .
   Google Scholar
• Lejeune , J. Deux aperçus du jardin qui s'éveille . On Concert Imaginaire GRM. INA/GRM INA C 1000 , 1984 .
   Google Scholar
• Parmegiani , B. La Création du Monde . INA/GRM, INA C1002 , 1986 .
   Google Scholar
• Smalley , D. Tides . Ode Records, CD Manu 1433 , 1993 .
   Google Scholar
• Smalley , D. Valley Flow . On Impacts intérieurs , Emprientes Digitales, Diffusion i Media, IMED-9209-CD , 1992 .
   Google Scholar
• Truax , B. Pacific . On Pacific Rim . Cambridge Street Records CSR-CD 9101 .
   Google Scholar
• Wishart , T. Red Bird . October Music, Oct 001 , 1992 .
   Google Scholar
• Wishart , T. Vox-5 . On Computer Music Currents 4 . Wergo , 2024 – 50 , 1989 . (also available in alternative version as part of complete Vox cycle, Virgin Classics, VC 7 91108–2) .
   Google Scholar