Ferreira, G. M. d. S.
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This article presents a perceptual analysis of Jean-Claude Risset's Sud. A theoretical stance is adopted that is based on Gregory Bateson’s Theory of Mind (Bateson, 1980, Mind and Nature), which suggests that perception operates as a continuous dialectic between concept and sense-data. A complementarity between intrinsic and extrinsic connotations in electroacoustic music is assumed, and a broad concept of structure is suggested, prompting the notion of meaning as a multi-layered construct that relates musical and worldly experiences. From this perspective, Sud may be perceived as an encounter between human imagination and nature in two of its most powerful symbols: the sea, alluded to through the sounds of the waves, and the forest, alluded to through the sounds of birds and insects. The piece presents an exploration of the essence of these environmental sounds, which are either modified or recreated with different substances. In its appeal to images widespread in a variety of cultures, as well as in its unique use of traditional musical materials, Sud is more than a strongly programmatic and visually evocative piece.
|Item Type:||Journal Article|
|Keywords:||electroacoustic music; computer music; music analysis|
|Academic Unit/Department:||Mathematics, Computing and Technology > Computing & Communications|
|Depositing User:||Giselle Ferreira|
|Date Deposited:||04 Feb 2009 09:22|
|Last Modified:||02 Dec 2010 20:19|
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