مؤسسة الشرق الأوسط للنشر العلمي
عادةً ما يتم الرد في غضون خمس دقائق
For years, sound art has felt an innovative axis of research and experimentation, the aim of which is to perfectly reproduce the sound reality and enrich the listener's auditory experience. This was marked by the emergence of new technologies in the field of sound, and subsequently the emergence of new profiles and new playing techniques. In this article, we combine interdisciplinary work merging new technologies, sound immersion and human sensitivity, namely acousmatic music: live captured sound, then reproduced and broadcast by a real-time interpretation via an orchestra of loudspeakers. It is a mediatized experience. This is where 'acousmatic art' is positioned: a way of expression close to the perception of a blind person; considered as 'an art of interpretation'. The idea of manipulating sound, creating new sounds, reproducing perceived sound reality, playing with speakers, synthesizers, microphones, manipulating a highly amplified voice, has always appealed to us. Indeed, an acousmatic work combines the filmmaking techniques of cinema with those of music, by bringing together artistic media and musical discourse. It is explored at the heart of the overlap between the technical, symbolic, artistic and aesthetic dimensions of these two disciplines. This article explores the links that exist between these two supporting arts 'cinema' and 'music' in order to better understand this field and better guide others who would share the same concerns as us. Through a documentary research method, we have tried to provide a guide translating the different rules and theoretical and technical notions on which acousmatic music is based, while starting from a rich and critical terminological study.