Acousmatique, an adjective, first used by Pierre Schaeffer in 1955 to describe the experience of listening to musique concrète, and referring generally to sound that is heard without knowing the originating cause. The term is derived from the Greek word akousmatikoi, or behind the veil - although mythic and seemingly inaccurate. It has more recently been used by Michel Chion in Audio-Vision: Sound on Screen to refer to sound outside the frame of the image, and expanded in Brian Kane's re-(e)valuation of Schaeffer's phenomenology in Sound Unseen: Acousmatic Sound in Theory and Practice.
Acousmatic music, as the term is generally used, refers to a genre of music where sound is recorded, processed or not, composed, mixed, and played back via loud speakers. Playback systems typically range from between two and eight speakers, although more are possible, and many possible situations exist for acousmatic listening.
Like most acousmatic music my music is preoccupied with timbre and texture, the intrinsic qualities of sounds, and places a high value on sound quality. But also expressed is an interest in the contextualized meanings of sounds. Playing with a commonly shared recognition and understanding of the context-based meaning of a sound, although highly and individually nuanced.
The music can be simultaneously ephemeral and reflective, and concrete and directive.
From the Independent Film Second To Die (2002).
Composed, performed, and recorded by Dave Gedosh, mixed by Dave Gedosh and Cory Barr. Jennifer Hopper, Vocals. Published by DSM Producers, New York NY