How can acousmatic music communicate its intention to the listener? Ess

Acousmatic music can be challenging to communicate its intention to the listener. Unlike traditional music their is 'no score, no system and no pre-segmented discrete units like notes' (Anderson, 2007; p. 2). Acousmatic music uses what is heard without seeing or knowing the physical origin of the sound as a compositional tool (Contrà ©, WWW). 'It is a type of electroacoustic music, which exists in a recorded format, transmitted and perceived, during performances, via the loudspeaker' (Anderson, p. 2). Rather than understanding conventional musical forms acousmatic music may rely only on communication. Communication primarily focuses on language. There are different forms of language when introduced to electroacoustic music. Language can be understood through listening, perception and identification or understanding (Adkins, 1999; p. 2; Delalande, 1998; pp. 26 - 49; Nudds, 2007; p.7; Seddon, 2005; p. 1). These will be looked at to see if they can help in communicating the intention o f acousmatic music to the listener. Understanding language beforehand may help in better understanding listening, perception and identification. Language is the bearer of meaning and is a universal medium of communication (Evans, 1973; p. 42; Stenlund, 1990; p. 14). With in electroacoustic music, language is used as a 'tool for establishing an aesthetic' (Keane, 1986; p. 118). Pierre Schaeffer considers it as being 'presupposed' (Windsor, 1995; 1.1.1). Although, both talking about language they talk about different aspects of language in relation with electroacoustic music. Schaeffer talks about the creation of music, Keane talks about the process before making music. Schaeffer's theory of language may mask the communication between composer and liste... ...eane's suggestion of explaining and expressing the intention to the listener through speech or literature (communication) seems like the most plausible way of making sure the listener will know the composer's intent. This way the listener could put the composer's intention together whilst listening, which may make the listening experience more enjoyable. 'The more informed the listener is about the music the more pleasurable and meaning the listening experience' (Burton, Cavalier, Hoffer, Hughes, 1997; p. 1). Although, there are listeners who want to make their own listening experience through their perception regardless of knowing the intention of the piece. The only listeners who enjoyed the pieces were the musically trained listeners. Their theory was listening to acousmatic music may help them in gaining a wider understanding on the subject as it is ambiguous.