The Harpsichord and the Embodied Acousmatic

Andrew Lewis

The Harpsichord and the Embodied Acousmatic

Andrew Lewis

Ysgol y Celfyddydau a'r Dyniaethau

Allbwn ymchwil: Pennod mewn Llyfr/Adroddiad/Trafodion Cynhadledd › Pennod

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In this chapter I discuss the principles underlying the composition of my piece INT/ext, for harpsichord and tape (1991). I focus particularly on my personal understanding of key principles of acousmatic music (that is, fixed-medium sonic art heard only on loudspeakers) and explain how these relate to music for the harpsichord. I explain how INT/ext is a practical outworking of an embodied model of acousmatic sound in which both harpsichord and electronic parts contain within themselves the sonic traces of three essential and interdependent elements: agent, sounding body and space.

Iaith wreiddiol	Saesneg
Teitl	Harpsichord Reimagined
Is-deitl	Resonances in Contemporary Music
Golygyddion	John Palmer, Jane Chapman
Cyhoeddwr	Vision Edition
ISBN (Argraffiad)	978-1-0687122-1-0
Statws	Cyhoeddwyd - Ion 2025

Dyfynnu hyn

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title = "The Harpsichord and the Embodied Acousmatic",

abstract = "In this chapter I discuss the principles underlying the composition of my piece INT/ext, for harpsichord and tape (1991). I focus particularly on my personal understanding of key principles of acousmatic music (that is, fixed-medium sonic art heard only on loudspeakers) and explain how these relate to music for the harpsichord. I explain how INT/ext is a practical outworking of an embodied model of acousmatic sound in which both harpsichord and electronic parts contain within themselves the sonic traces of three essential and interdependent elements: agent, sounding body and space.",

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N2 - In this chapter I discuss the principles underlying the composition of my piece INT/ext, for harpsichord and tape (1991). I focus particularly on my personal understanding of key principles of acousmatic music (that is, fixed-medium sonic art heard only on loudspeakers) and explain how these relate to music for the harpsichord. I explain how INT/ext is a practical outworking of an embodied model of acousmatic sound in which both harpsichord and electronic parts contain within themselves the sonic traces of three essential and interdependent elements: agent, sounding body and space.

AB - In this chapter I discuss the principles underlying the composition of my piece INT/ext, for harpsichord and tape (1991). I focus particularly on my personal understanding of key principles of acousmatic music (that is, fixed-medium sonic art heard only on loudspeakers) and explain how these relate to music for the harpsichord. I explain how INT/ext is a practical outworking of an embodied model of acousmatic sound in which both harpsichord and electronic parts contain within themselves the sonic traces of three essential and interdependent elements: agent, sounding body and space.

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The Harpsichord and the Embodied Acousmatic

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