This article posits the notion of the post-acousmatic. It considers the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. It will outline the authors' definition of the term and also outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors' consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking.
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- Vice-Chancellor's Office - Dean of Graduate School
- Department of History, English, Linguistics and Music
- Centre for Research in New Music - Directorate