This paper explores issues related to cultural appropriation in acousmatic electroacoustic music. Through its use of sound recording technology, acousmatic electroacoustic music facilitates a broad range of potential mechanisms for cultural appropriation, from the abstract (idea) to the concrete (sound object). But appropriating culturally identifiable material is not without its hazards, and the composer may face accusations of superficial exoticism, cultural offence, or the violation of personal or legal rights. To complicate matters for the composer, each listener will bring his or her own knowledge to their understanding of the meaning of the material. A similar reception effect occurs with any artistic medium, of course. But in electroacoustic music, the clarity and immediacy of high-fidelity recording and playback can strongly enhance the identifiability of the material, and, by extension, the audience's potential attachment to it. As illustrations, I refer briefly to several works, including three of my own acousmatic pieces, that have made use of appropriation. Through those examples, we consider both the broader issues noted above and some specific concerns about language and voice. The goal is to provide an overview of some of the opportunities and possible pitfalls of cultural appropriation in electroacoustic music, as well as a brief map of one composer's journey through that thorny landscape.

We are immersed in a wonderful cacophony of sound. Sustained and intermittent pings, cracks, burrs, plops and tingles jostle for position in our heads. High-pitched delicate cascades contrast starkly with deep thunder like rumbles that seem to permeate our entire bodies. We are exploring a fragmenting fault zone from the inside, a dynamic geological process brought to our ears through sonification and science–art collaboration: the interactive sound art installation Aftershock. Aftershock (2011) is the result of the collaboration between composer Natasha Barrett, associate professor of geosciences Karen Mair and the Norwegian Centre for the Physics of Geological Processes (PGP) at the University of Oslo. In this paper we discuss how a scientist and an artist collaborated through sonification, the artistic results of this approach and how new compositional methods and aesthetical frameworks emerged.

Animated screen-based notation and visual representation of sound provide an important solution to visualising a range of musical phenomena and techniques including continuous parametrical changes, synchronisation with prerecorded audio or live processing, and nonlinear formal organisation. The limitations of human visual capabilities, however, place some constraints upon the efficacy of screen-based representation, particularly in regard to notation reading. Findings from sightreading studies exploring the manner in which notation is encoded, processed and executed are examined with the aim of identifying the perceptual and practical boundaries of presenting animated notation on screen. The development of efficient visual representation is proposed as an important requirement for alleviating the issues created by the time constraints of reading on screen. Studies in semantics and cross-modal activation are discussed as a foundation for the expansion of approaches to the visualisation of sound.

Do Desenho e do Som is a software application that creates graphical screen scores in real time. Fascinated by the theoretical discussions concerning improvisation, composition and real-time composition, the author endeavours to conceive an interactive environment to induce controlled improvisation contexts, using real-time scores. Do Desenho e do Som makes use of real-time screen scores to facilitate the communication of formalised musical ideas, which due to their ambiguous graphical nature create an interesting interaction between a composer, an assistant and performers. It also grants a real-time control over form as the notation, and consequently the music, unfolds at runtime. With a focus on the underlying importance of listening, the author based this article on his own experience designing the Do Desenho e do Som software and using it for composition.

This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to further the use of contextual information when making compositional decisions with sound materials derived from field recordings: a socio-sonic methodology. To begin the discussion, theoretical readings of sound in context are presented. Parallels are highlighted between the practices of ethnographic study and soundscape composition, illustrated with the work of Steve Feld and the World Soundscape Project. A brief consideration of the soundscape–acousmatic continuum with reference to works by Luc Ferrari, Denis Smalley and Hildegard Westerkamp is followed by a combined summation of ethnographic, soundscape and acousmatic approaches to outline a socio-sonic methodology for composition. Examples of work by Peter Cusack, Justin Bennett and Bob Ostertag are discussed alongside my own work Manifest – a fixed-media composition based on field recordings and interviews made at political protests in Barcelona. The potential is for a music considered equally for its sonic and socio-political properties.

Alvin Lucier's Music for Solo Performer (1965), often referred to as the ‘brain wave piece’, has become a key work of experimental music. Its setup, in which the brain waves of a solo performer are made to excite percussion instruments, has given the work a central place in the discourse on artistic sonification. However, only a small number of the authors making reference to the work seem to have studied the score, and even fewer have given thought to the score's implications for performance practice and aesthetic reflection. This paper pays detailed attention to these yet overlooked aspects, drawing on accounts of early performances as well as the authors’ participation in a 2012 performance led by the composer. We also trace the history of live-electronic equipment used for Music for Solo Performer and discuss the work's reception in sonification research.

This short article presents the author’s ideas about different score formats for instrumental performers of mixed electroacoustic music. Following a trajectory from initial understanding through effective rehearsal and ending in performance, different score formats are discussed. Each is based on and addresses performers’ needs and improves documentation and transmission of the composer’s intentions and the performer’s contribution. The author bases these suggestions on her experience as a performer/commissioner and composer of new mixed electroacoustic works, many of which are collaborative creations.

Sonification is described as an under-utilised dimension of the ‘wow!’ factor in science engagement multi-media. It is suggested that sonification's potential value, like much of the scientific visualisation content, probably lies less in hard facts and more in how it may serve as a stimulant for curiosity. Sound is described as a multi-dimensional phenomenon, and a number of approaches to creating sonifications are reviewed. Design strategies are described for five types of phenomena that were sonified for works created by cosmologist George Smoot III and percussionist/ethnomusicologist Mickey Hart, most particularly for their film Rhythms of the Universe (Hart and Smoot 2013).

The ‘in-betweenness’ of a newcomer, which derives from being familiar with multiple sensuous geographies and living through diverse cultural regimes, creates for them an almost experimental situation. Their lack of habitual memory and ‘soundscape competence’ (Truax 2001) of the new city is full of creative potentials in terms of acoustic experience and expression. In order to explore the dynamics of such contexts in their richness, we need to develop sensorily rich methods of inquiry. In this regard, the field of soundscape studies has been offering performative methods for sensory methodologies including ethnography. On the other hand, by incorporating a sensory ethnographic process, we can also address some issues like cultural and social sensitivity within the field of soundscape composition. I drew upon methods such as the soundwalk and sound diary, which were turned into performative expressions by employing approaches to a soundscape composition and developing a collaborative and process-oriented sound installation. In this paper, I will be discussing the recent sonic ethnographic and artistic projects I developed in Vancouver,1 and how these projects can contribute to our understanding of cultural soundscapes.

Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian music and its future.

The ‘comprovisation’ (Dudas 2010) of electroacoustic music in an affective manner through Internet2, using a directed dramaturgy approach, poses unique scoring problems. Building on prior work (Whalley 2009, 2012c), GNMISS (Graphic Networked Music Interactive Scoring System) was developed to address this. The system has four visual layers that illustrate the structure of works, represented on a circle with parts for each player. One layer maps emotions to colours based on associated words as a primary basis for gesture and timbre representation. A second layer gives musical motives and frequency information for participants to follow. A third allows for more detailed indications of gesture and sound archetypes through representative symbols. Finally, an inside layer represents macro key centres. For timing, the circle score turns in clock time with the current playing position always at noon, and a central metronome shows speed independent of clock time. Technically, client programs sit on distributed machines across the Internet, with data being coordinated by an OSC Server. Distributed scores can be built by a composer or by a team, and all content can be altered simultaneously across client machines. Two works are discussed as initial examples of its implementation: Sensai na Chikai and SymbolAct.

The desire to make data accessible through the sense of listening has led to ongoing research in the fields of sonification and auditory display since the early 1990s. Coming from the disciplines of computer sciences and human computer interface (HCI), the conceptualisation of sonification has been mostly driven by application areas and methods. On the other hand, the sonic arts, which have always participated in the auditory display community, have a genuine focus on sound. Despite these close interdisciplinary relationships between communities of sound practitioners, a rich and sound- or listening-centred concept of sonification is still missing for design guidelines. Complementary to the useful organisation by fields of application, a proper conceptual framework for sound needs to be abstracted from applications and also to some degree from tasks, as both are not directly related to sound. As an initial approach to recasting the thinking about sonification, we propose a conceptualisation of sonifications along two poles in which sound serves either a normative or a descriptive purpose. According to these two poles, design guidelines can be developed proper to display purposes and listening modes.

This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's leading Indian Arts Development Trust) regarding the participating musicians and their sound contributions posed further considerations for the representative quality of each instrument showcased on the archive. Gathering appropriate material for users of the archive (young learners, audience members and interested laypeople) while capturing sounds suitable for compositional purposes presented new challenges within the recording environment. Further complexities surfaced when this challenge was coupled with a lesser degree of familiarity with instrument capabilities, playing styles and cultural traditions. This unique collaboration with cultural sounds and performance practices raised questions about my compositional intentions, cross-cultural borrowing, respectful practice, and the unavoidable undertones of cultural appropriation and colonial attitude.

Parameter mapping sonification is the most widely used technique for representing multi-dimensional data in sound. However, it is known to be unreliable when used for detecting information in some types of data. This is generally thought to be the result of the co-dependency of the psychoacoustic dimensions used in the mapping.

Positing its perceptual basis in a theory of embodied cognition, the most common approach to overcoming this limitation involves techniques that afford the interactive exploration of the data using gross body gestures. In some circumstances, such exploration is not possible and, even when it is, it may be neither necessary nor sufficient.

This article explores some other possible reasons for the unreliability of parameter mapping sonification and, drawing from the experience of expressive musical performance, suggests that the problem lies not in the parametric approach per se, nor in the lack of interactivity, but in the extent to which the parameters employed contribute to coherent gestalts. A method for how this might be achieved that relies on the use of micro-gestural information is proposed. While this is speculative, the use of such gestural inflections is well known in music performance, is supported by findings in neuroscience and lends itself to empirical testing.

This article explores listening and communications strategies that arise with a collaborative scoring system we are developing for use within improvisational contexts. Performers generate notation on a scrolling score a short time before it is played or rendered into sound. Working a short time in the future allows performers to respond to sound as they would in any improvisatory situation, and yet coordinate their activity through notation in a way typically associated with pre-composed music. The ‘Anticipatory Score’ platform supports the exploration of different kinds of relationships between performers, composers and audience members, and different listening and engagement strategies that affect the musical experience for all participants.

Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents the Threnoscope as an example of a system that implements both representational notation and a prescriptive code score.

Awa-ai is the indigo plant and dye made famous hundreds of years ago in Japan by the people living and working in the region now known as Tokushima Prefecture. This article explores the core concepts that link the aged traditions of indigo production, processing and dyeing with contemporary sound practice, and outlines the facets of a collaboration in which disparate fields not only coexisted, but used their technological and cultural differences to strengthen one another. Live field recordings, audio interviews and the sounds of Awa indigo production and practice were used in a large-scale, transcontinental installation which featured over 200 pieces of indigo-dyed cloth and multichannel, interactive sound. The collaborative nature of this project allowed the artists involved to understand and conceptualise their work in new ways, and can serve as an example for the ways in which syncretic exploration energises creative thinking and output.