Abstract
While a growing number of musicological studies attest to the aesthetic importance of spatialisation in electroacoustic music, few have questioned the notion that its aesthetic significance should be reducible to its role in sonic structure. Tracing a path across the tightly knit network of commercial, institutional, technical, and musical players involved in the early development of spatialisation techniques, this paper undermines the presumption of formal autonomy by sketching a history of some of the social and discursive strategies that composers have deployed to distinguish the concept of spatialisation from preexisting and parallel concepts of multichannel stereophony. The paper closes with some reflections on the role of spatialisation in the development of electroacoustic music as a genre.
| Original language | English |
|---|---|
| Title of host publication | Proceedings of the International Computer Music Conference, ICMC 2011 |
| Publisher | International Computer Music Association |
| Pages | 41-48 |
| Number of pages | 8 |
| ISBN (Print) | 9780984527403 |
| Publication status | Published - 2011 |
| Externally published | Yes |
| Event | 37th International Computer Music Conference - Centre for Research in New Music, University of Huddersfield, Huddersfield, United Kingdom Duration: 31 Jul 2011 → 5 Aug 2011 Conference number: 37 http://computermusic.org/page/180/ (Link to Conference Website & Information) |
Publication series
| Name | International Computer Music Conference, ICMC Proceedings |
|---|---|
| Publisher | University of Michigan |
| Volume | 2011 |
| ISSN (Print) | 2223-3881 |
Conference
| Conference | 37th International Computer Music Conference |
|---|---|
| Abbreviated title | ICMC 2011 |
| Country/Territory | United Kingdom |
| City | Huddersfield |
| Period | 31/07/11 → 5/08/11 |
| Internet address |
|