Perceiving Sound Objects in the Musique Concrète.

Frontiers in Psychology
Rolf Inge Godøy

Abstract

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music.

References

Aug 21, 2007·Human Movement Science·Scott T Grafton, Antonia F de C Hamilton
May 1, 1997·Trends in Cognitive Sciences·E Pöppel
Feb 9, 2011·Psychological Bulletin·Stuart T Klapp, Richard J Jagacinski
Nov 18, 2011·The Journal of the Acoustical Society of America·Geoffroy PeetersStephen McAdams
Sep 21, 2013·Nature Reviews. Neuroscience·Jennifer K Bizley, Yale E Cohen
Feb 24, 2016·Frontiers in Psychology·Fernand GobetPeter C R Lane

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Timbre Toolbox
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