Hostname: page-component-745bb68f8f-hvd4g Total loading time: 0 Render date: 2025-01-12T10:53:33.180Z Has data issue: false hasContentIssue false
  • English
  • Français

Narrative Modes in Acousmatic Music

Published online by Cambridge University Press:  11 November 2016

James Andean
James Andean*
Affiliation:
Music, Technology and Innovation Research Centre, De Montfort University, Leicester LE1 9BH
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Beginning with a brief overview of acousmatic narrative, this article proposes that in listening to acousmatic music we select and move between distinct narrative modes, according to the requirements and implications of a given work, or shifting between modes as the work progresses. Similarities and differences with existing theory are considered. Ten narrative modes are proposed as relevant for acousmatic music and discussed. Finally, the appearance of narrative archetypes across multiple modes is considered, as well as similarities across other musics and other fields.

Type
Articles
Information
Organised Sound , Volume 21 , Special Issue 3: Sound and Narrative , December 2016 , pp. 192 - 203
Copyright
© Cambridge University Press 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Abbott, H. P. 2008. The Cambridge Introduction to Narrative. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Almén, B. 2008. A Theory of Musical Narrative. Bloomington: Indiana University Press.Google Scholar
Amelidis, P. 2016. Acousmatic Storytelling. Organised Sound 21(3): 00–00.Google Scholar
Andean, J. 2010. The Musical–Narrative Dichotomy: Sweet Anticipation and Some Implications for Acousmatic Music. Organised Sound 15(2): 107–115.CrossRefGoogle Scholar
Andean, J. 2012. An Embodied Approach to Acousmatic Music. Proceedings of the 16th Annual Symposium for Music Scholars in Finland. https://jyx.jyu.fi/dspace/bitstream/handle/123456789/38068/andean_S2012.pdf.Google Scholar
Andean, J. 2014a. Sound and Narrative: Acousmatic Composition as Artistic Research. Journal of Sonic Studies 7 www.researchcatalogue.net/view/86118/86119 (accessed 24 June 2016).Google Scholar
Andean, J. 2014b. Towards an Acousmatic Narratology. Proceedings of the EMS14 Conference – Electroacoustic Music Beyond Concert Performance – Berlin. www.ems-network.org/IMG/pdf_EMS14_andean.pdf (accessed 24 June 2016).Google Scholar
Basanta, A. 2010. Syntax as Sign: The Use of Ecological Models within a Semiotic Approach to Electroacoustic Composition. Organised Sound 15(2): 125–132.CrossRefGoogle Scholar
Batchelor, P. 2014. Evaluating Acousmatic Compositional Strategies within Public Sound Art. Paper presented at the 2014 Electronic Music Studies Network Conference, Berlin.Google Scholar
Berry, W. 1966. Form in Music. Englewood Cliffs, NJ: Prentice-Hall.Google Scholar
Booker, C. 2004. The Seven Basic Plots: Why We Tell Stories. New York: Continuum.Google Scholar
Booth, W. C. 1961. The Rhetoric of Fiction. Chicago: University of Chicago Press.Google Scholar
Bregman, A. 1990. Auditory Scene Analysis. Cambridge, MA: MIT Press.CrossRefGoogle Scholar
Brunson, B. 2012. A Narrative Stance: Making a Case for Narrativity in Electroacoustic Music. Paper presented at the 2012 Electronic Music Studies Network Conference, Stockholm.Google Scholar
Campbell, J. 1972. The Hero With a Thousand Faces. Princeton: Princeton University Press.Google Scholar
Chion, M. 1983. Guide des objets sonores. Paris: Buchet/Chastel.Google Scholar
Clarke, E. F. 2005. Ways of Listening. New York: Oxford University Press.CrossRefGoogle Scholar
Crites, S. 1971. The Narrative Quality of Experience. Journal of the American Academy of Religion 39(3): 291–311.CrossRefGoogle Scholar
Emmerson, S. 1986. The Relation of Language to Materials. In S. Emmerson (ed.) The Language of Electroacoustic Music. London: Macmillan Press.CrossRefGoogle Scholar
Emmerson, S. 2007. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Emmerson, S. and Landy, L. 2016. The Analysis of Electroacoustic Music: The Differing Needs of Its Genres and Categories. In S. Emmerson and L. Landy (eds.) Expanding the Horizon of Electroacoustic Music Analysis. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Gibson, J. J. 1966. The Senses Considered as Perceptual Systems. Boston: Houghton Mifflin.Google Scholar
Godøy, R. I. 2010. Images of Sonic Objects. Organised Sound 15(1): 54–62.CrossRefGoogle Scholar
Grabócz, M. 2009. Musique, narrativité, signification. Paris: L’Harmattan.Google Scholar
Grabócz, M. 2011. Métamorphoses de l’intrigue musicale (XIXe–XXe siècles). Cahiers de Narratologie 21 http://narratologie.revues.org/6503 (accessed 24 June 2016).CrossRefGoogle Scholar
Herman, D. 2002. Story Logic: Problems and Possibilities of Narrative. Lincoln, NE: University of Nebraska Press.Google Scholar
Herman, D. 2007. Introduction. The Cambridge Introduction to Narrative. Cambridge: Cambridge University Press.Google Scholar
Huron, D. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press.CrossRefGoogle Scholar
Johnson, M. 1987. The Body in the Mind. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Jung, C. G. 1964. Man and His Symbols. London: Aldus.Google Scholar
Landy, L. 1994. The ‘Something to Hold on to Factor’ in Timbral Composition. Contemporary Music Review 10(2): 49–60.CrossRefGoogle Scholar
Landy, L. 2007. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press.CrossRefGoogle Scholar
Leman, M. 2010. An Embodied Approach to Music Semantics. Musicae Scientiae. Discussion Forum. 5: 43–67.CrossRefGoogle Scholar
Lerdahl, F. and Jackendoff, R. 1983. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press.Google Scholar
Lidov, D. 1987. Mind and Body in Music. Semiotica 1(3): 69–97.Google Scholar
Mâche, F. -B. 1992. Music, Myth and Nature or the Dolphins of Arion. Chur, Switzerland: Harwood.Google Scholar
Marty, N. 2016a. Deleuze, Cinema and Acousmatic Music. Organised Sound 21(2): 166–175.CrossRefGoogle Scholar
Marty, N. 2016b. Thinking the Praxis of Electroacoustic Music Composition. Facebook 19/06. www.facebook.com/groups/245357145837297/254495158256829/ (accessed 24 June 2016).Google Scholar
Meelberg, V. 2006. New Sounds, New Stories. Amsterdam: Leiden University Press.Google Scholar
Nattiez, J. -J. 1990. Music and Discourse: Toward a Semiology of Music. Princeton, NJ: Princeton University Press.Google Scholar
Naylor, S. 2016. Voice: The Persistent Source. Organised Sound 21(3): 00–00.CrossRefGoogle Scholar
Norman, K. 2000. Stepping Outside for a Moment: Narrative Space in Two Works for Sound Alone. In S. Emmerson (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate.Google Scholar
Norman, K. 2004. Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate.Google Scholar
Normandeau, R. 2009. Timbre Spatialisation: The Medium is the Space. Organised Sound 14(3): 277–285.CrossRefGoogle Scholar
Rizzolatti, G. and Craighero, L. 2004. The Mirror-Neuron System. Annual Review of Neuroscience 27: 169–192.CrossRefGoogle ScholarPubMed
Roy, S. 1996. Form and Referential Citation in a Work by Francis Dhomont. Organised Sound 1(1): 29–41.CrossRefGoogle Scholar
Ryan, M. L. 2004. Narrative Across Media: The Languages of Storytelling. Lincoln, NE: University of Nebraska Press.Google Scholar
Ryan, M. L. 2009. Space. In P. Hühn (ed.) Handbook of Narratology. Berlin: de Gruyter.Google Scholar
Schaeffer, P. 1952. Á la recherche d’une musique concrète. Paris: Éditions du Seuil.Google Scholar
Schaeffer, P. 1966. Traité des objets musicaux. Paris: Éditions du Seuil.Google Scholar
Schenker, H. 1979. Free Composition. New York: Longman.Google Scholar
Smalley, D. 1994. Defining Timbre, Refining Timbre. Contemporary Music Review 10(2): 35–48.CrossRefGoogle Scholar
Smalley, D. 1997. Spectromorphology: Explaining Sound Shapes. Organised Sound 2(2): 107–126.CrossRefGoogle Scholar
Smalley, D. 2007. Space-form and the Acoustic Image. Organised Sound 12(1): 35–58.CrossRefGoogle Scholar
Spitzer, M. 2004. Metaphor and Musical Thought. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Stocker, M. 2013. Hear Where We Are: Sound, Ecology, and Sense of Place. New York: Springer.CrossRefGoogle Scholar
Street, A. 2013. Identity Formation in Webern’s Six Pieces for Large Orchestra, Op. 6. In M. L. Klein and N. Reyland (eds.) Music and Narrative Since 1900. Bloomington: Indiana University Press.Google Scholar
Tarasti, E. 1994. A Theory of Musical Semiotics. Bloomington: Indiana University Press.Google Scholar
Vande Gorne, A. 2002. L’interprétation spatiale: Essai de formalisation méthodologique. Revue DEMéter. www.univ-lille3.fr/revues/demeter/interpretation/vandegorne.pdf (accessed 24 June 2016).Google Scholar
Waters, S. 2015. Tullis Rennie’s Muscle Memory: Listening to the Act of Listening. Contemporary Music Review 34(1): 22–32.CrossRefGoogle Scholar
Weale, R. 2006. Discovering How Accessible Electroacoustic Music Can Be: The Intention/Reception Project. Organised Sound 11(2): 189–220.CrossRefGoogle Scholar
Windsor, L. 2000. Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds. In S. Emmerson (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate.Google Scholar
Wishart, T. 1994. Audible Design. York: Orpheus the Pantomime.Google Scholar
Wishart, T. 1996. On Sonic Art. Amsterdam: Harwood Academic Publishers.CrossRefGoogle Scholar
Wishart, T. 2010. Encounters in the Republic of Heaven. York: Orpheus the Pantomime.Google Scholar
Wishart, T. 2012. Sound Composition. York: Orpheus the Pantomime.Google Scholar
Zbikowski, L. 2008. Metaphor and Music. In R. W. Gibbs, Jr. (ed.) The Cambridge Handbook of Metaphor and Thought. Cambridge: Cambridge University Press.Google Scholar

Discography

Dhomont, F. 1996. Points de fuite (1982). On Cycle de l’errance. Montreal: Empreintes Digitales, IMED-9607.Google Scholar
Ferrari, L. 2002. Visages V (1959). On Tautologos and Other Early Electronic Works. Albany: EMF.Google Scholar
Ferrari, L. 2004. Presque rien avec filles (1977). On Presque rien. Paris: Ina-GRM, INA_C 2008.Google Scholar
Harrison, J. 2007. Undertow (2007). On Environs. Montreal: Empreintes Digitales, IMED-0788.Google Scholar
Normandeau, R. 1998. Rumeurs (Place de Ransbeck) (1987). On Lieux inouïs. Montreal: Empreintes Digitales, IMED-9802.Google Scholar
Normandeau, R. 2005. StrinGDberg and Éden (2003). On Puzzles. Montreal: Empreintes Digitales, IMED-0575_NUM.Google Scholar
Parmerud, Å. 1994. Renaissance. On Jeu d’ombres (2003). Montreal: Empreintes Digitales, IMED-0367.Google Scholar
Wishart, T. 2000. Red Bird (1980). On Red Bird/Anticredos. Albany: EMF, CD-022.Google Scholar