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Listening for Context: Interpretation, abstraction and the real

  • Andrew Hill (a1)
Abstract

This article seeks to explore the proposed notion of ‘context-based composition’ by examining the nature of ‘real-world’ context. It does this by studying the way in which listeners interpret sounds, working towards a deeper understanding of what it is that we mean by ‘real-world’ sound and context-based composition. These discussions are then utilised to explore the concept of what it means to compose context-based works and suggests that new potentials are opened up by a closer examination of the definition of context-based composition, one which liberates itself from a concern over an absolute physical nature of sounds and which embraces the use of both abstract and referential sounds. This journey highlights the importance of memory and experience within processes of interpretation and the creation of context-based compositions, and questions divisions between the virtual and the real.

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Corresponding author
Email: a.hill@gre.ac.uk
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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

E. C. Caterette and R. A. Kendall 1999. Comparative Music Perception and Cognition. In D. Deutsch (ed.). The Psychology of Music. San Diego: Academic Press.

F. Delalande 1998. Music Analysis and Reception Behaviours: Sommeil by Pierre Henry. Journal of New Music Research 27(1–2): 1366.

S. McAdams 1989. Psychological Constraints on Form-Bearing Dimensions in Music. Contemporary Music Review 4: 181198.

K. Norman 1996. A Poetry of Reality: Composing with Recorded Sound. Contemporary Music Review 15(1–2): 157.

J. C. Rissett 1996. Real-World Sounds and Simulacra in my Computer Music. Contemporary Music Review 15(1–2): 2947.

D. Smalley 1986. Spectro-morphology and Structuring Processes. In S. Emmerson (ed.) The Language of Electroacoustic Music. Basingstoke: Macmillan Press.

C. Stevens 2012. Music Perception and Cognition: A Review of Recent Cross-Cultural Research. Topics in Cognitive Science 4: 653667.

B. Truax 1996. Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review 15(1–2): 4965.

B. Truax 2017. Editorial: Soundscape Composition as Context-Based Creation. Organised Sound 22(1): 13.

R. Wollheim 1980. Art and its Objects, 2nd edn. Cambridge: Cambridge University Press.

J. Young 1996. Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music. Contemporary Music Review 15(1–2): 7190.

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Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
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