Abstract
In electroacoustic musicking — in common with all musicking — whilst we might feel we know when we have witnessed something good, it is considerably more difficult to express the reasons for our preferences verbally. Part of this undoubtedly rests in the general problems of using language to describe the considerably more ephemeral yet multi-dimensional experience of music (Small 1996[1977]). Yet, electroacoustic musicking, particularly at the experimental peripheries, appears to muddy the waters still further with its engagements with modern technologies and sonic forms.
Original language | English |
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Journal | eContact |
Volume | 10 |
Issue number | 4 |
Publication status | Published - Oct 2008 |
Externally published | Yes |