Source Recognition

Source Recognition refers to the ability of a listener to ascribe a real or imaginary physical origin or provenance to a sound. This is likely to be a great significance in Acousmatic listening situations, to the extent that it may become an aspect of the musical discourse. The term is closely allied to the concept of Timbre.

Reconnaissance de la source

Ce terme désigne la capacité d'un auditeur à attribuer une origine physique réelle ou imaginaire ou une provenance à un son. Cette attitude peut avoir une grande importance dans le cas de situations d'écoute acousmatique dans la mesure où elle peut être un aspect du discours musical. Ce terme est très lié au concept de timbre.

Riconoscimento della fonte

Il termine indica la capacità di un ascoltatore di attribuire una origine fisica reale o immaginaria o la provenienza di un suono. Questa abilità può essere molto importante nelle situazioni di ascolto acusmatico nella misura in cui può far parte del discorso musicale. il termine è correlato al concetto di timbro.

Klangfarbenerkennung

Source Recognition refers to the ability of a listener to ascribe a real or imaginary physical origin or provenance to a sound. This is likely to be a great significance in Acousmatic listening situations, to the extent that it may become an aspect of the musical discourse. The term is closely allied to the concept of Timbre.

Reconocimiento de la Fuente

El término Reconocimiento (o Identificación) de la Fuente se refiere a la habilidad que tiene un oyente para asignarle a un sonido una procedencia u origen físico real o imaginario. Esto puede llegar a ser muy importante en las situaciones de escucha acusmática, al grado de convertirse en un aspecto del discruso musical. El término está muy relacionado con el concepto de Timbre.

References

Copeland D. (1998) Vers une conscience d'associations/For An Awareness Of Associations
Couprie P. (2001) Transcription globale : introduction à la représentation
(1999) Dix jeux d'écoute
Field A. (1996) An Introduction to Discovery Strategy
Hanson S. (1997) Autoanalysis?
Hoopen C. t. (1994) Issues in Timbre and Perception
Hoopen C. t. (1997) Perceptions of Sound: Source, cause and human presence in electroacoustic music
Landy L. (2001) Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
McCartney A. (2000) Sounding Places with Hildegard Westerkamp
Palombini C. (1993) Pierre Schaeffer's Typo-Morphology of Sonic Objects
Palombini C. (1993) Pierre Schaeffer: from Research into Noises to Experimental Music
Palombini C. (2002) Musique Concrète Revisited
Rudy P. (2007) Timbral praxis: when a tree falls in the forest is it music?
Smalley D. (1993) Defining Transformations
Weale R. (2005) The Intention/Reception Project: Investigating the Relationship Between Composer Intention and Listener Response in Electroacoustic Compositions
Weale R. (2005) The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
Weale R. (2006) Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project
Weale R. (2007) Mapping perception across the communitive continuum as a prelude to analysis
Windsor W. L. (1997) Frequency Structure in Electroacoustic Music: Ideology, function and perception
Windsor W. L. (2000) Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds
Wishart T. (1986) Sound Symbols and Landscapes
Young J. (1994) The Extended Environment
Young J. (1996) Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music