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acousmatic music
Acousmatic music (from Greek ἄκουσμα ''akousma'', "a thing heard") is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance. It stems from a compositional tradition that dates back to the introduction of musique concrète in the late 1940s. Unlike musical works that are realised using sheet music exclusively, compositions that are purely acousmatic (in listening terms) often exist solely as audio recordings, also referred to as fixed media.
The compositional practice of acousmatic music features acousmatic sound as a central musical aspect. Other aspects traditionally thought of as 'musical' such as melody, harmony, rhythm, metre may be present but more often consideration is given to sound-based characteristics such as timbre and spectrum. Compositional materials can include sounds derived from musical instruments, voice, electronically generated sound, audio that has been manipulated using various effect processors, as well as general sound effects and field recordings.
The music is produced with the aid of various music technologies, such as digital recorders, digital signal processing tools and digital audio workstations. Using such technology various sound materials can be combined, juxtaposed, and transformed in any conceivable manner. In this context the compositional method can be seen as a process of ''sound organisation'': a term first used by the French composer Edgard Varèse.〔Ouellette, Fernand (1973), ''Edgard Varèse'', London: Calder and Boyars. ISBN 978-0-7145-0208-3〕
==Origins==
According to certain historical accounts the origin of the term ''acousmatic'' can be traced back to Pythagoras; the philosopher is believed to have tutored his students from behind a screen so as not to let his presence distract them from the content of his lectures. Under these conditions the listener focuses on the sounds being produced to heighten the sense of hearing. In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the term ''acousmatique'' to define the listening experience of musique concrète.〔Peignot, J. (1960), De la musique concrète à l'acousmatique, ''Esprit'', No. 280. Paris: ''Esprit'': 111-123.〕 It is said to be derived from ''akousmatikoi'', the outer circle of Pythagoras' disciples who only heard their teacher speaking from behind a veil. In a similar way, one hears acousmatic music from behind the 'veil' of loudspeakers, without seeing the source of the sound.〔Schaeffer, Pierre (1966), ''Traité des objets musicaux'', Paris: Éditions du Seuil. 〕
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