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Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage

Published online by Cambridge University Press:  30 June 2016

Monty Adkins ,
Richard Scott  and
Pierre Alexandre Tremblay
Monty Adkins*
Affiliation:
CeReNeM, University of Huddersfield, Queensgate Campus, Huddersfield HD1 3DH
Richard Scott*
Affiliation:
NOVARS Research Centre, Martin Harris Centre for Music and Drama, University of Manchester, Bridgeford Street, Manchester M13 9PL
Pierre Alexandre Tremblay*
Affiliation:
CeReNeM, University of Huddersfield, Queensgate Campus, Huddersfield HD1 3DH
*
Email: m.adkins@hud.ac.uk; richard_scott@rwnc.co.uk; p.a.tremblay@hud.ac.uk
Email: m.adkins@hud.ac.uk; richard_scott@rwnc.co.uk; p.a.tremblay@hud.ac.uk
Email: m.adkins@hud.ac.uk; richard_scott@rwnc.co.uk; p.a.tremblay@hud.ac.uk
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Abstract

This article posits the notion of the post-acousmatic. It considers the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. It will outline the authors’ definition of the term and also outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors’ consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking.

Type
Articles
Information
Organised Sound , Volume 21 , Special Issue 2: Situating the Avant–Garde: Conformity and oppositional culture , August 2016 , pp. 106 - 116
Copyright
© Cambridge University Press 2016 

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