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

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dc.contributor.authorYoung, John
dc.date.accessioned2011-03-24T15:18:53Z
dc.date.available2011-03-24T15:18:53Z
dc.date.issued1996
dc.description.abstractThis 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.identifier.citationYoung, 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.doihttps://doi.org/10.1080/07494469600640371
dc.identifier.isbn3718659328
dc.identifier.issn0749-4467
dc.identifier.otherCMUREP 15.1-2 1-180
dc.identifier.urihttp://hdl.handle.net/2086/4776
dc.language.isoenen
dc.peerreviewedYesen
dc.researchgroupMusic, Technology and Innovation Research Centreen
dc.researchinstituteMusic, Technology and Innovation - Institute for Sonic Creativity (MTI2)en
dc.subjectsource recognitionen
dc.subjectrealismen
dc.subjectabstractionen
dc.subjectsurrogacyen
dc.subjecttransformationen
dc.subjectacousmaticen
dc.titleImagining the source: The interplay of realism and abstraction in electroacoustic music.en
dc.typeArticleen

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