On the Non-Cochlearity of the Sounds Themselves

What is non-cochlear sound? This open question is followed by way of an initial explication of the psychophysiology of audition. Non-cochlearity in sound is posited firstly in terms of synaesthesia and the skin and body cavity reception of infrasonic and low frequency sound waves. The auditory imagination is a further example that can produce a perception of sound without any direct acoustic stimulation of either the ear or skin and body. However, one’s imagination still retains a relation to the sounds of the world we live in. From a phenomenological perspective this worldly relation is a fundamental characteristic of sound as something that is heard. On this basis the causality associated with empirical accounts of auditory perception as a product of biological processes are contrasted with an interrogation of sound qua sound. It is posited that the sounds themselves are non-cochlear in the sense of being non-physical phenomena disclosed in the lived experience of hearkening to the meaningful sounds one hears in the world.

Download the proceedings of the International Computer Music Conference 2012 in Ljubljana Slovenia

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This paper explores the potential for an organicist or relational holistic approach to experimental electroacoustic music composition that is indeterminate with respect to performance. It follows a phenomenological interpretation of the musical work as the product of dynamic, temporal or relational processes involving the performers, their instruments, the sounds themselves, the whole acoustic space and the audience. An analysis of an electroacoustic composition and Decibel ensemble performance is offered for which organic indeterminacy is described in terms of a performative openness towards the creation of experimental music.

Presented at the Australasian Computer Music Conference 2011 in Auckland NZ

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Musical Networks in Experimental Electronic Performance

Dr Malcolm Riddoch & Jarryd Bird

The paper outlines three practical uses for Inter- net and LAN networks in the performance of electronic and electroacoustic music currently utilized in teaching and learning at WAAPA Composition and Music Technology, Edith Cowan University: From live streaming audio broadcasts connecting virtual performers around the world, to synchronised electronic graphic scores and on to distributed computing networks utilizing Max/MSP over UDP to produce multichannel spatial music works. The use of musical networks enables the electronic com- poser to integrate virtual ensembles and/or large amounts of data distributed over LAN and the Internet. These networks and their technological setups also both open up and form the limits of the possibilities for electronic composition and are particularly useful for indeterminate ap- proaches to highly structured improvisation in electronic composition and performance.

Presented at AUC CreateWorld 2010

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