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|Title: ||Acoulogy as a framework for environmental sound|
|Other Titles: ||"Yin xiang zhuang tai xue" : jian gou huan jing sheng yin yan jiu de kuang jia|
"音響狀態學" : 建構環境聲音研究的框架
|Authors: ||Maridet, Cedric Marie Yves|
|Department: ||School of Creative Media|
|Degree: ||Doctor of Philosophy|
|Issue Date: ||2009|
|Publisher: ||City University of Hong Kong|
Music -- Acoustics and physics.
|Notes: ||CityU Call Number: ML3805 .M37 2009|
1 v. (unpaged) 30 cm.
Thesis (Ph.D.)--City University of Hong Kong, 2009.
Includes bibliographical references.
|Abstract: ||Electronic technologies enable the composer to select, repeat, fragment and
otherwise manipulate and study sound. These possibilities have been a
strong impetus in the development of innovative theories of sound alongside
radical compositional practices using recorded environmental sounds.
However, a holistic model that clarifies and maps the stakes of the various
practices is lacking. Thus, I propose to elucidate the concept of listening
intentions and to place it at the core of sonic art theory. In that sense, a model
of acoulogy, as the study of listening, is a valuable framework to explain the
heterogeneity of listening modes and the connections between composing
and listening. This justifies a phenomenological approach, which focuses on a
first-person description of the different ways to experience sounds. Several
domains are thus identified concerning the potentials for abstraction contained
in recorded sounds, like the relationship of the sound to its source, the
paradigms of contextualized versus decontextualized sounds, found versus
processed sound, and the relationship to reality. These concepts provide the
basic vocabulary to describe and analyze different forms of sonic art.|
|Online Catalog Link: ||http://lib.cityu.edu.hk/record=b2374849|
|Appears in Collections:||SCM - Doctor of Philosophy |
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