Composition (Malcolm Riddoch 2011): Use the Larsen effect (microphone feedback) to explore the various natural resonant frequencies of the acoustic space. Acoustic performers should listen and play the nearest microtonal equivalent in pitch, loudness and duration.
Performative attention should be paid to the resonance of one’s acoustic instrument in the space as it interacts with that space’s reinforcing resonant frequencies.
Variations in the acoustic instruments’ pitch and loudness may also drive new resonant electroacoustic feedback frequencies. In this case performative listening may alternate between passive (following the electroacoustic resonance) and active (playing the acoustic space itself).