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The Harpsichord and the Embodied Acousmatic

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

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The Harpsichord and the Embodied Acousmatic. / Lewis, Andrew.
Harpsichord Reimagined: Resonances in Contemporary Music. gol. / John Palmer; Jane Chapman. Vision Edition, 2025.

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

HarvardHarvard

Lewis, A 2025, The Harpsichord and the Embodied Acousmatic. yn J Palmer & J Chapman (gol.), Harpsichord Reimagined: Resonances in Contemporary Music. Vision Edition.

APA

Lewis, A. (2025). The Harpsichord and the Embodied Acousmatic. Yn J. Palmer, & J. Chapman (Gol.), Harpsichord Reimagined: Resonances in Contemporary Music Vision Edition.

CBE

Lewis A. 2025. The Harpsichord and the Embodied Acousmatic. Palmer J, Chapman J, golygyddion. Yn Harpsichord Reimagined: Resonances in Contemporary Music. Vision Edition.

MLA

Lewis, Andrew "The Harpsichord and the Embodied Acousmatic". a Palmer, John Chapman, Jane (golygyddion). Harpsichord Reimagined: Resonances in Contemporary Music. Vision Edition. 2025.

VancouverVancouver

Lewis A. The Harpsichord and the Embodied Acousmatic. Yn Palmer J, Chapman J, golygyddion, Harpsichord Reimagined: Resonances in Contemporary Music. Vision Edition. 2025

Author

Lewis, Andrew. / The Harpsichord and the Embodied Acousmatic. Harpsichord Reimagined: Resonances in Contemporary Music. Gol. / John Palmer ; Jane Chapman. Vision Edition, 2025.

RIS

TY - CHAP

T1 - The Harpsichord and the Embodied Acousmatic

AU - Lewis, Andrew

PY - 2025/1

Y1 - 2025/1

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.

M3 - Chapter

SN - 978-1-0687122-1-0

BT - Harpsichord Reimagined

A2 - Palmer, John

A2 - Chapman, Jane

PB - Vision Edition

ER -