The Fourth Phase of Electroacoustic Music and the Intimate Transformation of the Sonic Experience

Eric Maestri (1, 2)

1 ACCRA - Approches contemporaines de la création et de la réflexion artistiques
2 CRULH - Centre de Recherche Universitaire Lorrain d'Histoire

In this paper, I illustrate the history of electronic music in four phases: irruption (i), mediation (ii), embodiment (iii) and intimate transformation (iv). This last one expresses a more effectively and deeply integration of the sonic and operational aspects of electronic music in the musical imagination. I argue that electronic sounds, once detached by the ancestral contingencies, are now attached to contemporary contingencies. These transformations affect the existential temporal structure of the musician. In order to define the specificity of this fourth phase, I propose to consider the relationship that contemporary musicians establish with their devices and sounds through the lens of temporality and existentialism. In order to clarify this specific musical horizon, I consider three pieces (acousmatic, mixed music and live coding) proposing to look at the inclusion of the human constitutive temporal and durational sonic aspects in the non-natural and non-temporal environment.

Domaines: Musique, musicologie et arts de la scène; Philosophie

Eric Maestri. The Fourth Phase of Electroacoustic Music and the Intimate Transformation of the Sonic Experience. Electroacoustic Music Studies Network Conference, Jun 2018, Florence, Italy. ⟨hal-01987221⟩