SUMMARY

While this paper has been aimed at uncovering only a few salient traits of some common digital sound processes, I believe electroacoustic music is such a new area of compositional activity, and the language so 'foreign', that this topic merits more such research. The relationship between technology and the composer is often a rather uneasy affair, and for this reason we need to approach the technology from a perceptual point-of-view. I have argued that such an approach needs to take into account the myriad levels of sonic signification of which electroacoustic music is capable. We need not limit ourselves to working with purely concrete sounds, purely 'musical' sounds, or purely abstract sounds. Electroacoustic music is capable of predicating a rich discourse in the significative realms of the human perception and cognition; as composers we need to understand how our thoughts and actions are capable of harnessing this extremely powerful and extremely beautiful potential.

I believe this paper to be a tentative step in such a direction.

 

DISCOGRAPHY

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