Space, Sound, and Acousmatic Music

Chapters in this book

1. Frontmatter 1
2. Inhalt / Content 5
3. Foreword 9
4. Facetten des auditiven Raums / Facets of Audible Space
5. Local/Field and Beyond 13
6. Annäherungen an Hör-Räume des Mittelalters 27
7. Music and Space in the Renaissance 45
8. Klangwelten für den großen Saal 67
9. Henry Brants »Spatial Music« 89
10. Spatiale Basistechnologien / Fundamental Spatial Technologies
11. Von dislozierten Klängen und auditiven Räumen 105
12. Recent Discoveries in the Spatial Thought of Early Musique concrète 123
13. Spatial Effects: Sound, Space, and Technology in Twentieth Century Popular Music 137
14. Three-Dimensional Kunstkopf Music and Audio Art 151
15. Dispositive – Komposition und Technologie / Dispositives – Composition and Technology
16. Space Impression Mediated by Sound 167
17. Before and After Kontakte 177
18. Aspects of Space in Luigi Nono’s Prometeo and the Use of the Halaphon 193
19. Space, Sound, and Acousmatic Music 205
20. »Compare to Other Spaces, Real or Imagined« (Pauline Oliveros 1969) 221
21. Theorie und Praxis der Raumkomposition / Theory and Practice of Spatial Composition
22. Vom Finden zum Erfinden 237
23. Space as a Carrier of Materials, Meaning, and Metaphor in Karlheinz Stockhausen’s Music-Theatre Composition Sirius 259
24. François Bayle’s valeur obscure 277
25. Raum in Luigi Nonos 1° Caminantes 􀀁 Ayacucho (1987) 287
26. Klangarchitektur / Sound Architecture
27. »...every movement is possible« 305
28. The Complexity of Xenakis’s Notion of Space 323
29. Biographies 339
30. Index 343
31. Backmatter 351