Sound in the Ecstatic-Materialist Perspective on Experimental Music

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20th Century Music
A01=Riccardo D. Wanke
Audio Samples
auditory perception research
Auditory Stream Segregation
Author_Riccardo D. Wanke
Binaural Beats
Category=AVLA
Category=AVP
Category=JMR
Contemporary Art Music
Contemporary Instrumental Music
Dense
Drone Music
Dulle Griet
electroacoustic analysis
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
Experimental Music
experimental music morphology
High Level Associations
IDM
Ilma
Immanent Listening
Kaija Saariaho
microtonal composition
Musical Episodes
Noct
phenomenology of listening
Real World Sounds
Sculptural Arrangement
Sonic Elements
Sonic Map
Sonic Material
Sonic Matter
Sound Art
sound art theory
spectral music
String Quartet

Product details

  • ISBN 9780367676933
  • Weight: 376g
  • Dimensions: 156 x 234mm
  • Publication Date: 09 Sep 2021
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond – but still related to – it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge.

Riccardo D. Wanke is musician, academic, and member of the Centre for the Study of Sociology and Aesthetics of Music at NOVA University of Lisbon, Portugal. His interests cover experimental music, sound perception, and electronic sound manipulation. He has performed live worldwide and published for international labels.

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