"Tornar sensível um objeto simbólico ou mesmo tornar conceito um
objeto sensível, para depois retirá-lo deste território: esta é a tarefa do
compositor. Ele não comunica absolutamente nada, ele apenas joga o ouvinte
num campo de batalha sem definir as regras. O compositor tece um território
complexo, uma malha intrincada de entradas multiplas, ao reiterar seus
elementos numa forma de ritornelo; no modo como faz retornar a série, como
tece os volteios dos campos harmônicos, como elabora o focar e desfocar de
suas texturas musicais. Daí para alguns a escuta de músicas recentes parecer
tão incomoda, pois a todo tempo ela traz o desconforto de territórios
movediços. À comodidade de um codigo simples onde o ruído de informação
era minimizado, sobrepõe-se a violência de um campo minado, em que cada
ponto pode ser um ponto de passagem."
(Silvio Ferraz: Música e Comunicação: Ou, o que quer
comunicar a música? Anais do
XIII Encontro Nacional da ANPPOM, Música no Século XXI: Tendências,
Perspectivas e Paradigmas
Volume II
Escola de Música da UFMG
Belo Horizonte - MG )
"Our common definition of “noise” is most probably “any sound of an unwanted and incidental
nature”. Noise is that “sound” which intrudes at unpredictable moments; that has a character which
instills alarm, anxiety, stress and fear in our minds. It may be loud or soft, brief or persistent. It may
leave only a momentary impression, or one that lingers long after the noise itself has subsided. Noise
can counter and challenge simple perceptions, dislocate attention and create an uneasiness within the
listener which blocks engagement with the musical or central sound object and, of course, silence."
(ALISTAIR M.RIDDELL: Music in the Chords of Eternity. CONTEMPORARY MUSIC REVIEW, Vol 15, part I: A Poetry of Reality)
"Sonograms represent the distribution of spectral energy from an acoustic source across frequency and time as a two dimensional visual plot. On these plots the horizontal axis represents elapsed time (from left to right), while the vertical axis represents frequency (from low to high). Energy (amplitude) is represented by the brightness of the trace (or alternatively the colour)."
"The recognition by listeners (and composers) of sounds‟ causation, whether real or apparent, is not to be ignored or relegated to supplementary status. Rather, it is seen as a primary force in the structure of acousmatic music, whether through metaphorical or more direct links with our environment. Sounds may have differing degrees of connection with their apparent sources, referring to them precisely or through a kind of family resemblance— a taxonomy of excitatory causes. Sounds are perceived not only to have detailed relationships with specific sound producing objects but also relationships with “surrogate” sources."
(William Luke Windsor: A Perceptual Approach to the Description and Analysis of Acousmatic Music)
"All electronic music is a meditation on
the act of listening to sounds both old and new, therefore a meditation on
the cognitive processes that accompany listening. But electroacoustic music
embodies perhaps the most fraught attitude toward this new reality of sound,
since it is at its core ambivalent about whether it should eschew the formal
and structural parameters that would readily link it with traditional, acoustic
music. The sheer freedom of electroacoustic music constitutes both its
strength and its burden."
(JOANNA DEMERS: LISTENING
THROUGH
THE NOISE
The Aesthetics of Experimental Electronic Music)
