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15 Cards in this Set
- Front
- Back
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Michael Chion - Three Listening Modes |
1. Causal Listening - listening to a sound in order to gather information about its cause - Most easily influenced and deceptive - Tap on a cup to see how full it is - We recognizie a person's voice to determine who is speaking 2. Semantic Listening : listening to understand and interpret the meaning of an encoded message -Listening to a language you understand - Responding to (at least some of) the affective/emotional content of music with which you are familiar 3. Reduced Listening: focusing on the traits of a sound itself, apart from its source or meaning - "Is squeaking an image only, or rather a word that refers to the source that squeaks... 3. Reduced Listening |
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Pierre Schaeffer |
1910 - 1995 - Musique Concrete - “Etude Aux Chemins de Fer" - trains - Acousmatics |
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Musique Concrète |
-Schaeffer had developed an aesthetic that was centred upon the use of recording sound as a primary compositional resource. Instead of notating musical ideas on paper their realization to well-known instruments, the question was to collect concrete sounds, wherever they came from, and toabstract the musical values they were potentially containing.” one might say that the origin of this music is also found in the interest in ‘plastifying’ music, of rendering it plasticlike sculpture…musique concrète, in my opinion … led to a manner ofcomposing, indeed, a new mental framework of composing." |
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Pierre Schaeffer "Acousmatics" |
Recording technologies allow new potential for the separation of the signal from the source. 1. Pure listening: If we separate the sound from the identification of its source, we will realize much of what we thought we heard is only seen. 2. listening to effects: we hear better through repeated listening and without the availability of the identification of the source 3. Multiple recordings of various sonour events |
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Acousmatics |
To deny the instrument and cultural conditioning, to put in front of us the sonorous and musical possibility. The generality of sounds without having to produce them. |
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Sonorous object |
A sound instance defined as independent from its causal reference, apart from the sonorous source and acoustic signal. A conceptual feeling in the absence of source A sound object is defined as a sound or sounds, as a focal point for evaluation, considered outside of their original context: the object of critical listening. In this sense, a sound object is “…sound material out of its original musical context” and “…a conceptualization of a sound as existing out of time, and without relationship to another sound (except its possible direct comparison with another sound object).” |
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Metastatis Iannis Xenakis 1953-1954 - Hyperbolic paraboloids of philips pavillion used - Xenakis was an architect and sketch Metasis graphically, one axis time and one pitch |
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Phillips Pavillion 1958, Le Corbusier in collaboration with Edgar Varese and Iannis Xenakis at the World's Fair in Brussels |
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Concrete PH |
Iannis Xenakis, 1958 - Start with a sound made up of many particles and see how it grows - Defiant of much of musique concrete .... which generally had only abrupt transitions, because they were choppped blocks of recorded sounds |
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Luigi Russolo |
- 1883 - 1947 - Art of Noises : Futurist Manifesto, before ww1 |
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Luigi Russolo Dynamic Automobile 1912- 1913 |
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Luigi Russolo Dynamism of a Train, 1912 |
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Luigi Russolo Impressions of Bombardment 1926 |
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Intonarumori 1913 - Russolo - Different machines named after soudn they produced - Cordinating and controlling noises |
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“Risveglio Di Una Citta” (1913) Notation for the intoarumori |
