An analysis of Oval’s Systemisch in the context of Schaefferian theory
Christopher Banks · UPT. Syiah Kuala University Library (Syiah Kuala University) · 2011
Using Pierre Schaeffer’s theories on classfiying and percieveing all sound for use in musical composition, this paper explores one contemporary example of experimental electronic music, Oval’s 1996 album Systemisch, in the context of historical models such as Schaeffer’s Quatre Écoutes and Typo-Morphology, through the acousmatic method of reducing listening. Systemisch features a recurring use of non musical sound, as the method undertaken to produce the source material on the album was done so by Oval physically altering the underside of an existing CD of electronic music, in turn generating microscopic glitch and distorted harmonious elements, which are subsequently organised into experimental compositions. The aim was to assess to what extent historical theories on the perception of sound, intended to inform the study of Musique Concrète over sixty years ago, are still relevant as key tools in the discourse on experimental music when applied to contemporary experimental material in the digital age.