Within the context of discussing contemporary music the European tendency to overvalue abstraction is questioned. The use of environmental sounds in electroacoustic music is highlighted as an example of the questionable value of abstraction. Attention is then focused on a recent Truax composition, Powers of Two (1995) as a work of electroacoustic music theatre possessing a ‘human framework of relationship' embodied in the piece.
Sounds and Sources in Powers of Two: Towards a contemporary myth
Organised Sound 1(1): 13-21.