Acousmatic sound is sound that is heard without an originating cause being seen. The word acousmatic, from the French acousmatique, is derived from the Greek word akousmatikoi (ἀκουσματικοί), which referred to probationary pupils of the philosopher Pythagoras who were required to sit in absolute silence while they listened to him deliver his lecture from behind a veil or screen to make them better concentrate on his teachings. The term acousmatique was first used by the French composer and pioneer of musique concrètePierre Schaeffer.[1] In acousmatic art[2] one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether it is natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film.[3] More recently, in the article Space-form and the acousmatic image (2007), composer and academicProf. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts.[4] Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.
In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the term acousmatic to define the listening experience of musique concrète.[5] In his 1966 publicationTraité des objets musicaux Schaeffer defined the acousmatic as: Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it (Schaeffer 1966: 91). Schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone. The concept of reduction (epoché), as used in the Husserlian phenomenological tradition, underpinned Schaeffer's conceptualization of the acousmatic experience. In this sense, a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception. The purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty. This reductive procedure redirects awareness to hearing alone.[6] Schaeffer remarked that: Often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context (Schaeffer 1966: 93).
Schaeffer derived the word acousmatique from akousmatikoi (hearers), a term used in the time of Pythagoras to refer to his uninitiated students. According to historical records followers of Pythagoras underwent a three-year probationary period, directly followed by a five-year period of "silence", before being admitted to Pythagoras' inner circle as mathêmatikoi (learned). The use of silence related to the protocols of rituals connected with the mystery-like instruction and religious ceremonies of the Pythagorean order. These ceremonies took place behind a veil or curtain with only those who had passed the five-year test being allowed to see their teacher face to face; the remaining students partaking acousmatically.[7][8][9] More recent research suggests that the Pythagorean "veil" itself was a euphemism for the figurative language with which Pythagoras taught, and the actual practice of speaking occluded by either a veil or the dark likely never occurred.[10]
According to the French film sound theorist Michel Chion (1994), in cinema, the acousmatic situation can arise in two different ways: the source of a sound is seen first and is then "acousmatized", or the sound is initially acousmatic with the source being revealed subsequently. The first scenario allows association of a sound with a specific image from the outset, Chion calls this visualised sound (what Schaeffer referred to as direct sound). In this case it becomes an "embodied" sound, "identified with an image, demythologized, classified". In the second instance the sound source remains veiled for some time, to heighten tension, and is only later revealed, a dramatic feature that is commonly used in mystery and suspense based cinema; this has the effect of "de-acousmatizing" the initially hidden source of the sound (Chion 1994, 72). Chion states that "the opposition between visualised and acousmatic provides a basis for the fundamental audiovisual notion of offscreen space" (Chion 1994, 73).
^Schaeffer, P. (1966), Traité des objets musicaux, Le Seuil, Paris.
^Dufour, D. (1989), "Peu importe le son", Le Son des musiques, Symposium Ina-GRM and France Culture, publishing Ina-GRM/Buchet-Chastel, Paris
^Chion, M. (1994), Audio-Vision: Sound on Screen, Columbia University Press.
^Smalley, D. (2007), Space-form and the acousmatic image, Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.
^Peignot, J. (1960), De la musique concrète à l'acousmatique, Esprit, No. 280. Paris: Esprit: 111-123.
^Kane, B. (2007), L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction, Organised Sound 12(1): 15-24, Cambridge University Press.
^Boas, G. (1953), Ancient Testimony to Secret Doctrines, The Philosophical Review, Vol. 62, No. 1 (Jan.), Duke University Press, pp. 79-92 (p90).
^Minar, E.L. (1944), Pythagorean Communism,Transactions and Proceedings of the American Philological Association, Vol. 75, pp. 34-46 (p39).
^Kahn, C.H. (2001), Pythagoras and the Pythagoreans: A Brief History, Hackett Publishing Co., Indianapolis.
^Kane, Brian (2014). Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford University Press. pp. 45–72.
External linksedit
Look up acousmatic in Wiktionary, the free dictionary.
Chion, Michel. “Acousmatic Sound.” FilmSound. Excerpted from Chion's Audio-Vision: Sound on Screen.
Dhomont, Francis. “L’écriture acousmatique: Rappels et questionnements[permanent dead link].” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l'œuvre électroacoustique (August 2010). Montréal: CEC.
McFarlane, Matthew. “The Development of Acousmatics in Montréal eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (Fall 2003). Montréal: CEC.
Windsor, W. Luke. “A Perceptual Approach to the Description and Analysis of Acousmatic Music.” Unpublished doctoral thesis. London: City University, 1995.
February 16, 2024
acousmatic, sound, sound, that, heard, without, originating, cause, being, seen, word, acousmatic, from, french, acousmatique, derived, from, greek, word, akousmatikoi, ἀκουσματικοί, which, referred, probationary, pupils, philosopher, pythagoras, were, require. Acousmatic sound is sound that is heard without an originating cause being seen The word acousmatic from the French acousmatique is derived from the Greek word akousmatikoi ἀkoysmatikoi which referred to probationary pupils of the philosopher Pythagoras who were required to sit in absolute silence while they listened to him deliver his lecture from behind a veil or screen to make them better concentrate on his teachings The term acousmatique was first used by the French composer and pioneer of musique concrete Pierre Schaeffer 1 In acousmatic art 2 one hears sound from behind a veil of loudspeakers the source cause remaining unseen More generally any sound whether it is natural or manipulated may be described as acousmatic if the cause of the sound remains unseen The term has also been used by the French writer and composer Michel Chion in reference to the use of off screen sound in film 3 More recently in the article Space form and the acousmatic image 2007 composer and academic Prof Denis Smalley has expanded on some of Schaeffers acousmatic concepts 4 Since the 2000s the term acousmatic has been used notably in North America to refer to fixed media composition and pieces Contents 1 Origins 2 Musique concrete 3 Film sound 4 See also 5 References 6 External linksOrigins editIn 1955 Jerome Peignot and Pierre Schaeffer were the first to use the term acousmatic to define the listening experience of musique concrete 5 In his 1966 publication Traite des objets musicaux Schaeffer defined the acousmatic as Acousmatic adjective referring to a sound that one hears without seeing the causes behind it Schaeffer 1966 91 Schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone The concept of reduction epoche as used in the Husserlian phenomenological tradition underpinned Schaeffer s conceptualization of the acousmatic experience In this sense a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception The purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty This reductive procedure redirects awareness to hearing alone 6 Schaeffer remarked that Often surprised often uncertain we discover that much of what we thought we were hearing was in reality only seen and explained by the context Schaeffer 1966 93 Schaeffer derived the word acousmatique from akousmatikoi hearers a term used in the time of Pythagoras to refer to his uninitiated students According to historical records followers of Pythagoras underwent a three year probationary period directly followed by a five year period of silence before being admitted to Pythagoras inner circle as mathematikoi learned The use of silence related to the protocols of rituals connected with the mystery like instruction and religious ceremonies of the Pythagorean order These ceremonies took place behind a veil or curtain with only those who had passed the five year test being allowed to see their teacher face to face the remaining students partaking acousmatically 7 8 9 More recent research suggests that the Pythagorean veil itself was a euphemism for the figurative language with which Pythagoras taught and the actual practice of speaking occluded by either a veil or the dark likely never occurred 10 Musique concrete editMain article Musique concreteFilm sound editAccording to the French film sound theorist Michel Chion 1994 in cinema the acousmatic situation can arise in two different ways the source of a sound is seen first and is then acousmatized or the sound is initially acousmatic with the source being revealed subsequently The first scenario allows association of a sound with a specific image from the outset Chion calls this visualised sound what Schaeffer referred to as direct sound In this case it becomes an embodied sound identified with an image demythologized classified In the second instance the sound source remains veiled for some time to heighten tension and is only later revealed a dramatic feature that is commonly used in mystery and suspense based cinema this has the effect of de acousmatizing the initially hidden source of the sound Chion 1994 72 Chion states that the opposition between visualised and acousmatic provides a basis for the fundamental audiovisual notion of offscreen space Chion 1994 73 See also editDiegesis SchizophoniaReferences edit Schaeffer P 1966 Traite des objets musicaux Le Seuil Paris Dufour D 1989 Peu importe le son Le Son des musiques Symposium Ina GRM and France Culture publishing Ina GRM Buchet Chastel Paris Chion M 1994 Audio Vision Sound on Screen Columbia University Press Smalley D 2007 Space form and the acousmatic image Organised Sound Vol 12 No 1 Cambridge Cambridge University Press 35 58 Peignot J 1960 De la musique concrete a l acousmatique Esprit No 280 Paris Esprit 111 123 Kane B 2007 L Objet Sonore Maintenant Pierre Schaeffer sound objects and the phenomenological reduction Organised Sound 12 1 15 24 Cambridge University Press Boas G 1953 Ancient Testimony to Secret Doctrines The Philosophical Review Vol 62 No 1 Jan Duke University Press pp 79 92 p90 Minar E L 1944 Pythagorean Communism Transactions and Proceedings of the American Philological Association Vol 75 pp 34 46 p39 Kahn C H 2001 Pythagoras and the Pythagoreans A Brief History Hackett Publishing Co Indianapolis Kane Brian 2014 Sound Unseen Acousmatic Sound in Theory and Practice Oxford University Press pp 45 72 External links edit nbsp Look up acousmatic in Wiktionary the free dictionary Chion Michel Acousmatic Sound FilmSound Excerpted from Chion s Audio Vision Sound on Screen Dhomont Francis L ecriture acousmatique Rappels et questionnements permanent dead link eContact 12 4 Perspectives on the Electroacoustic Work Perspectives sur l œuvre electroacoustique August 2010 Montreal CEC McFarlane Matthew The Development of Acousmatics in Montreal eContact 6 2 Activites electroacoustiques au Quebec Electroacoustic Activities in Quebec Fall 2003 Montreal CEC Windsor W Luke A Perceptual Approach to the Description and Analysis of Acousmatic Music Unpublished doctoral thesis London City University 1995 Retrieved from https en wikipedia org w index php title Acousmatic sound amp oldid 1183096978, wikipedia, wiki, book, books, library,
