Connecting with Listeners through Acousmatic Music

Creating emotional connections through music is meaningful to me. As a musician, I desire to improve my acousmatic music works in a way that resonates with others and to better understand their experience of listening to acousmatic music. I was drawn to Leigh Landy’s notion of ‘Something to Hold on to Factor’, which provides a valuable framework that can guide musicians towards composing pieces that invite listeners to engage more deeply with.

Leigh Landy’s research is based on an analysis of approximately 100 works, focusing on aspects that enable listeners to connect with and appreciate complex acousmatic compositions. Leigh Landy identifies five factors, which he calls ‘Something to Hold on to Factor’ that can make acousmatic music more accessible. By incorporating these factors into our creative works, we can foster a stronger connection with our listeners and enhance their overall listening experience.

The first factor is called ‘some parameters for a start’. In this factor, Landy emphasises the importance of focusing on specific parameters of sound in acousmatic compositions. He notes that some works concentrate primarily on a single aspect, such as loudness, spatial projection, pitch relationships, or rhythm. By honing in on these fundamental elements, composers can create a strong focal point for listeners to engage with and navigate through the piece.

Historical examples of works that demonstrate this approach include Gottfried Michael Koenig’s Funktion series, which explores loudness; John Chowning’s Turenas, which emphasises spatial projection (though the surround sound aspect is lost in stereo CD recordings); and John Chowning’s Stria, which delves into pitch relationships.

The second factor Landy identifies is the ‘homogeneity of sounds and the search for new sounds’. This factor deals with compositions that focus on maintaining a consistent timbre or texture, as well as those that strive to introduce unique and innovative sounds. There are several ways composers achieve this:

• Concentrating on one or a few pitches, like Phill Niblock, who weaves together adjacent pitches to create a rich, captivating timbre.
• Focusing on homogeneous textures throughout the piece or contrasting them between separate movements, as seen in Bernard Parmegiani’s De natura sonorum.
• Exploring new sounds, like Iannis Xenakis, who synthesised noise-like textures that often defy description and captivate the listener’s attention.
• Incorporating vocal textures, which naturally capture the listener’s attention, as demonstrated by Luciano Berio’s Thema: Omaggio a Joyce, and mixed works for live performance and recording, such as those by Horaccio Vaggione, where identifiable instrumental timbres offer an entry point for the listener.

The third factor that Landy discusses is the idea of ‘textures not exceeding four sound types at once’. In this approach, composers focus on creating transparent and accessible compositions by layering different textures without overwhelming the listener. This modern form of counterpoint, termed ‘polysonic’ by Lars-Gunnar Bodin, utilises a modest number of levels of texture at any given moment, combined with recurring sonic material to establish familiarity.

For instance, Denis Smalley’s work often employs this principle, allowing listeners to become more comfortable with a piece as they become increasingly acquainted with the various textures. In contrast, compositions that frequently introduce new material may require multiple listens to develop familiarity. However, given the current state of the art, not all listeners may have the opportunity or inclination to revisit such works multiple times.

The fourth factor Landy introduces is the concept of ‘audible programs’. Originating from the early developments of musique concrète and radiophonic art, these compositions often have clear programs implied in their titles or the sounds they employ. Listeners naturally attempt to place the sounds within their personal experience, which creates points of reference they can latch onto.

Numerous works in this category also align with the second factor, homogeneity of sounds. Examples include François-Bernard Mâche’s Terre de Feu, which draws inspiration from nature, and John Oswald’s plunderphonic works, which use micro level collage of existing musical materials. Luc Ferrari’s ‘anecdotal music’ and ‘phonography’ also fall under this category, with works like Presque rien no. 1, Lever du jour au bord de la mer presenting lightly edited real-world recordings as musical compositions.

In some cases, works may play with the listener’s perception of semblance and reality, such as John Chowning’s Phoné, where the listener is left to guess which sounds are vocal and which are synthesised. In timbral acousmatic tales, works born out of the radiophonic tradition, only those with decipherable programs at first listen qualify in terms of the listening experience.

The fifth factor, according to Landy, suggests that there is more to discover when creating accessible acousmatic music. In some instances, the work’s sound might not be the main focus. For example, in live electroacoustic performances without traditional instruments, the visual performance, such as the performer’s movements, can provide an engaging element for the audience. This is especially captivating when the relationship between movement and sound is neither overly predictable nor entirely puzzling. Another example, which may be more pertinent to specialists, is the phenomenon of ‘listening to technology’, a term coined by Denis Smalley. This occurs when listeners concentrate more on the sound production, manipulation, and structuring techniques, rather than the sonic artwork itself.

Reflecting on my own journey, I find that by understanding and incorporating Leigh Landy’s ‘Something to Hold on to Factor’ in the creative process, musicians like myself can create acousmatic music that is more accessible and engaging for a broader range of listeners. This framework offers valuable insights into how we can enhance the emotional connection with our audience and create a more immersive and enjoyable listening experience.