I have been listening to electronically produced and mediated music for about 45 years and I can clearly recall the thrill of early performances I attended, broadcasts and recordings I listened to. What was it that attracted me to this new soundworld? How would I describe the sensations (both physical and emotional) that such sound elicited then and still does now? On some of these occasions I would describe my response as ‘transcendental’. My aim in this chapter is to encourage a vocabulary of describing responses to electroacoustic sound – in this I treat the perception system and the body as inseparable; the psychology of being thrilled is clearly not just a mental act but profoundly embodied. I will focus on music made with technology, whether in studios or produced live, and that is finally heard through loudspeakers – ‘electroacoustic’ sound.
Citation : Emmerson, S. (2018) Feeling sound. In: Music Analysis and the Body: Experiments, Explorations and Embodiments (Nicholas Reyland, Becky Thumpston eds.), Leuven: Peeters. Leuven Studies in Musicology 6. pp. 191-208
ISBN : 9789042936416
Research Group : Music Technology and Innovation - Institute for Sonic Creativity (MTI2)
Research Institute : Music, Technology and Innovation - Institute for Sonic Creativity (MTI2)
Peer Reviewed : Yes
- Leicester Media School