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Non-traditional Acousmatic music: Made in sound art studios, on fixed media, and built specifically for concert diffusion, but also for variations that include performers.

After the initial work is done, resulting in a straightforward acousmatic work, selected areas are channelled into a separate headphone feed. The headphones are given to a performer who is instructed only to imitate the sounds heard. Performers have had a few varying interpretations of these instructions so far.

Ricardo Climent uses the approach to tease out non-idiomatic performances from studio situations in which he needs 'non-idiomatic' improvisations from instrumentalists to use as sound sources. (an oversimplification, but I can't find the paper on it anywhere!)

Adam Stanović addresses the same solution from a different angle. adamstansbie.com/music

I started my way in with this: An electroacoustic score, or an aural model, or as Richard Scott calls it, an aural score. In here, the performance is entirely acoustic. Only the instrumentalist hears the EA part. (performance recordings to follow)

Two cellists with two very different results. Maybe it's something to be described through some sort of alchemical maths. The modeling of sound, by sound, gives 0 degrees of freedom, and results in infinite variation.

Here's the acousmatic version: Freezing metal sounds here are re-channelled to the performer.

Drew Petrie playing K, in the dark. A fully acousmatic realisation that includes a performer.