The 'something to hold on to factor' has to do with making musical works accessible to the listener. It works as follows: the creators of a work offer their public something to hold on to in terms of appreciation in word and deed. This 'something' in electroacoustic music can range treatment of parameters to homogeneity of sounds and/or the search for new sounds to the density of layering to an appropriate form of narrativity. This 'something' does not have to be the key element of the work in question. It is, however, an aspect of the work which helps one feel more comfortable, providing a greater understanding of the work. (Source - Leigh Landy (1994). The 'Something to Hold on to Factor' in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. London: Harwood Academic Publishers: 49-60.)

Le something to hold on to factor a à voir avec la réalisation d'œuvres musicale accessible au public. Avec cette technique, les créateurs d'une œuvre offrent à leur public quelque chose qui tient compte de leurs appréciations orales et écrites. En musique électroacoustique, ce quelque chose (something) peut consister en un traitement des paramètres afin d'homogénéiser les sons ou en une recherche de nouveaux sons pour alimenter une couche musicale en une forme appropriés de récit. Mais ce “quelque chose” ne doit pas être l'élément-clé de l'œuvre en question. Par contre, il est un aspect de l'œuvre qui procure une sensation de confort et permet une meilleure compréhension de l'œuvre. (Source - Leigh Landy (1994). "The 'Something to Hold on to Factor'" in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. London: Harwood Academic Publishers: 49-60.)

Il cosiddetto something to hold on to factor ha a che fare con la realizzazione di opera musicale accessibile al pubblico. Con questa tecnica, il creatore di un lavoro offre al pubblico qualcosa da ritenere, orale o scritta. In musica elettroacustica, questo “qualcosa” (something) può essere il trattamento di alcuni parametri per creare omogeneità dei suoni piuttosto che la ricerca di suoni suoni, la densità di stratificazione, una certa forma di narrativismo. Questo “qualcosa” non ha necessariamente a che fare con l'elemento chiave del lavoro. E' comunque un elemento che aiuta a porsi in modo più confortevole all'ascolto, che aiuta a comprendere in modo migliore il lavoro (Fonte - Leigh Landy (1994). The 'Something to Hold on to Factor' in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. London: Harwood Academic Publishers: 49-60).

The 'something to hold on to factor' has to do with making musical works accessible to the listener. It works as follows: the creators of a work offer their public something to hold on to in terms of appreciation in word and deed. This 'something' in electroacoustic music can range treatment of parameters to homogeneity of sounds and/or the search for new sounds to the density of layering to an appropriate form of narrativity. This 'something' does not have to be the key element of the work in question. It is, however, an aspect of the work which helps one feel more comfortable, providing a greater understanding of the work. (Source - Leigh Landy (1994). The 'Something to Hold on to Factor' in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. London: Harwood Academic Publishers: 49-60.)

El factor "algo de donde tomarse" tiene que ver con el hacer a las obras musicales más accesibles para quienes las escuchan. Funciona del siguiente modo: los creadores de una obra le ofrecen al público "algo de donde tomarse" en términos de apreciación. Este "algo" en la música electroacústica puede ir desde el tratamiento de ciertos parámetros a la homogeneidad de los sonidos y/o de la búsqueda de nuevos sonidos, a la densidad de la estratificación o una forma apropiada de narratividad. Este "algo" no necesita ser el elemento clave de la obra en cuestión. Es, sin embargo, un aspecto de la obra que nos ayuda a sentirnos más confortables, aportando una mayor comprensión de la composición.

(Fuente: Leigh Landy (1994). The "Something to Hold on to Factor" in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. Londres: Harwood Academic Publishers: 49-60)