{"id":{"repo_id":"de-montfort","oai_identifier":"oai:dora.dmu.ac.uk:2086/14306"},"canonical_url":"https://search.dev.ndltd.org/etd/de-montfort/oai:dora.dmu.ac.uk:2086/14306","repository":{"repo_id":"de-montfort","name":"De Montfort University","base_url":"https://dora.dmu.ac.uk/server/oai/request"},"display":{"title":"A practical investigation of expectation in acousmatic music","abstract":"The experience of expectation within acousmatic music is regarded as problematic because the electronic mediation of sound permits and even encourages composers to combine and integrate sounds of widely varying origins that may carry equally divergent aesthetic implications. Because of this, the compositional management of expectation in acousmatic music presents many challenges beyond those found in Western tonal music where familiar musical grammar assists the listener in comprehending the tensions and implications that contribute to expectation. Therefore, the purpose of this research is to investigate the nature of expectation within acousmatic music by means of a practice-based methodology. The composition portfolio itself has led to two new frameworks being proposed. The first, acousmatic skip-diving, provides a method for the ad hoc evaluation of materials and their interactions in situations where large numbers of existing sound materials are available. The second framework – sonic evidence – is based on some of the fundamental principles of forensic science and crime scene investigation. While not derived from my compositional practice, this reflection on the practical outcomes of the research is intended as a useful tool for the listener or musicologist to consider future development of events in a piece of music in terms of expectations aroused. While this study was never intended to provide a definitive answer to the issues surrounding expectation in acousmatic music, it has further illuminated the challenges facing listeners when attempting to anticipate events within a work, and how composers may create moments of surprise within their music. Furthermore, the ideas explored within the dissertation provide important building blocks through which further examination of expectation within the genre may take place.","abstract_html":"The experience of expectation within acousmatic music is regarded as problematic because the electronic mediation of sound permits and even encourages composers to combine and integrate sounds of widely varying origins that may carry equally divergent aesthetic implications. Because of this, the compositional management of expectation in acousmatic music presents many challenges beyond those found in Western tonal music where familiar musical grammar assists the listener in comprehending the tensions and implications that contribute to expectation. Therefore, the purpose of this research is to investigate the nature of expectation within acousmatic music by means of a practice-based methodology. The composition portfolio itself has led to two new frameworks being proposed. The first, acousmatic skip-diving, provides a method for the ad hoc evaluation of materials and their interactions in situations where large numbers of existing sound materials are available. The second framework – sonic evidence – is based on some of the fundamental principles of forensic science and crime scene investigation. While not derived from my compositional practice, this reflection on the practical outcomes of the research is intended as a useful tool for the listener or musicologist to consider future development of events in a piece of music in terms of expectations aroused. While this study was never intended to provide a definitive answer to the issues surrounding expectation in acousmatic music, it has further illuminated the challenges facing listeners when attempting to anticipate events within a work, and how composers may create moments of surprise within their music. Furthermore, the ideas explored within the dissertation provide important building blocks through which further examination of expectation within the genre may take place.","abstract_has_math":false,"creators":["Rossiter, Louise"],"institution":"De Montfort University","degree_name":"PhD","degree_level":"Doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-03","date_published":"2017-03","updated_at":"2026-07-24T06:18:40Z","subjects":[],"languages":[],"rights":[],"rights_urls":["https://dora.dmu.ac.uk/bitstreams/6dab7f89-70b0-47fe-8f38-0adbdeeef845/download"],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.sponsor","label":"Sponsor","values":["Arts and Humanities Research Council"]},{"key":"dc:creator","label":"Author","values":["Rossiter, Louise"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2017-03"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Faculty of Technology"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["De Montfort University"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["http://hdl.handle.net/2086/14306"]},{"key":"dc:type","label":"Dc Type","values":["Thesis or dissertation"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["PhD"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["https://dora.dmu.ac.uk/bitstreams/6dab7f89-70b0-47fe-8f38-0adbdeeef845/download"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://dora.dmu.ac.uk/bitstreams/caff78a9-1870-4e17-a7ed-2dfba5a7b61b/download"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The experience of expectation within acousmatic music is regarded as problematic because the electronic mediation of sound permits and even encourages composers to combine and integrate sounds of widely varying origins that may carry equally divergent aesthetic implications. Because of this, the compositional management of expectation in acousmatic music presents many challenges beyond those found in Western tonal music where familiar musical grammar assists the listener in comprehending the tensions and implications that contribute to expectation. Therefore, the purpose of this research is to investigate the nature of expectation within acousmatic music by means of a practice-based methodology. The composition portfolio itself has led to two new frameworks being proposed. The first, acousmatic skip-diving, provides a method for the ad hoc evaluation of materials and their interactions in situations where large numbers of existing sound materials are available. The second framework – sonic evidence – is based on some of the fundamental principles of forensic science and crime scene investigation. While not derived from my compositional practice, this reflection on the practical outcomes of the research is intended as a useful tool for the listener or musicologist to consider future development of events in a piece of music in terms of expectations aroused. While this study was never intended to provide a definitive answer to the issues surrounding expectation in acousmatic music, it has further illuminated the challenges facing listeners when attempting to anticipate events within a work, and how composers may create moments of surprise within their music. Furthermore, the ideas explored within the dissertation provide important building blocks through which further examination of expectation within the genre may take place."]},{"key":"dc:format.checksum.md5","label":"Dc Format Checksum Md5","values":["89f1e1e7e391661170b23f0fc16c7c33","78074e3b8a5534add636297b434f123a","b517cc1ec31d23e21f81e82aab72faab"]},{"key":"dc:title","label":"Title","values":["A practical investigation of expectation in acousmatic music"]}]}],"canonical_facts":{"dc:contributor.sponsor":["Arts and Humanities Research Council"],"dc:creator":["Rossiter, Louise"],"dc:date.issued":["2017-03"],"dc:description.abstract":["The experience of expectation within acousmatic music is regarded as problematic because the electronic mediation of sound permits and even encourages composers to combine and integrate sounds of widely varying origins that may carry equally divergent aesthetic implications. Because of this, the compositional management of expectation in acousmatic music presents many challenges beyond those found in Western tonal music where familiar musical grammar assists the listener in comprehending the tensions and implications that contribute to expectation. Therefore, the purpose of this research is to investigate the nature of expectation within acousmatic music by means of a practice-based methodology. The composition portfolio itself has led to two new frameworks being proposed. The first, acousmatic skip-diving, provides a method for the ad hoc evaluation of materials and their interactions in situations where large numbers of existing sound materials are available. The second framework – sonic evidence – is based on some of the fundamental principles of forensic science and crime scene investigation. While not derived from my compositional practice, this reflection on the practical outcomes of the research is intended as a useful tool for the listener or musicologist to consider future development of events in a piece of music in terms of expectations aroused. While this study was never intended to provide a definitive answer to the issues surrounding expectation in acousmatic music, it has further illuminated the challenges facing listeners when attempting to anticipate events within a work, and how composers may create moments of surprise within their music. Furthermore, the ideas explored within the dissertation provide important building blocks through which further examination of expectation within the genre may take place."],"dc:format.checksum.md5":["89f1e1e7e391661170b23f0fc16c7c33","78074e3b8a5534add636297b434f123a","b517cc1ec31d23e21f81e82aab72faab"],"dc:identifier.uri":["https://dora.dmu.ac.uk/bitstreams/caff78a9-1870-4e17-a7ed-2dfba5a7b61b/download"],"dc:publisher.department":["Faculty of Technology"],"dc:publisher.institution":["De Montfort University"],"dc:relation.isreferencedby":["http://hdl.handle.net/2086/14306"],"dc:rights":["https://dora.dmu.ac.uk/bitstreams/6dab7f89-70b0-47fe-8f38-0adbdeeef845/download"],"dc:title":["A practical investigation of expectation in acousmatic music"],"dc:type":["Thesis or dissertation"],"dc:type.qualificationlevel":["Doctoral"],"dc:type.qualificationname":["PhD"]},"updated_at":"2026-07-24T06:18:40Z"}