著者

庄野 進

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.1, pp.56-66, 1995-06-30

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Since the birth of electroacoustic media our listening attitude has been changed fundamentally, because of the very character of those media : the acousmatic. P. Schaeffer has defined it to listen to the sounds of which sources are invisible or unknown, refering to Pythagorean ritual. The traditional listening attitude has assumed the real sounding substance behind the reproudced sounds. But nowdays, because of the development of music technology, we can mostly get sounds that have been created from scratch or modulated electronically as a whole. We listen to surface sounds, which are also real in another meaning. Today, even in the live performance of traditional classical music, people receives it in the same manner as through the acousmatic media. It means that the model of the musical experience becomes the acousmatic. It follows the loss of the physicality in the experience of sounds. Some effort in the electroacoustic and computer music are made to retrieve the physicality of sounds, investigating live performance or interactive systems. Or, it is pursued that certain contextualization of those sounds occurs while receiving those acousmatic sounds, by cover jackets, liner notes or discourse of record reviews. In either case, however, if we lose the experience of the real live sounds, we must be imprisoned in a kind of cultic world.