By Marcus Cheng Chye Tan (auth.)
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Additional info for Acoustic Interculturalism: Listening to Performance
Ibid. 97) 44 Acoustic Interculturalism While soundscapes depict and describe the acoustic environment and the listener’s engagement and constitution of that environment, acoustemology is the theoretical process behind the construction of a soundscape. The listener-receiver constitutes the spatial dimension in a simultaneous interchange with the sounds that are heard. Sound has dimensionality as much as it creates dimensionality, for sound can be heard ‘moving’ in various directions, and can also be heard in trajectories of ascent, descent and other undulating forms (ibid.
The Performativity of Sound and the Soundscapes of Culture 43 While an akoumenological framework can be used to comprehend the ‘meaningfulness’ of sounds as they are on the intercultural stage, it is also necessary to examine sounds in (cultural) contexts. Sound is thus predicated on a ‘cultural listening’ and culture determines the sense, value and meaning of these sonic vibrations. Sound demarcates cultural boundaries and can often resound with cultural signification. By analysing the soundscape of an intercultural production, one can thus best understand the ways sound works to demarcate or possibly dissolve cultural boundaries – of what is familiar and foreign, recognisable and alienating.
17, 19). In Great Reckonings in Little Rooms, Bert O. States calls for an analysis of theatre employing theories of phenomenology. Raising the 38 Acoustic Interculturalism problems of dissecting the theatrical spectacle via semiotics, which inevitably leads to a fragmentation of the theatrical experience and the misplaced perceptual impression of the spectator, States calls for a phenomenological explanation and one that is bordered on, and constructed from, the sensory perceptions of the viewer/audience.
Acoustic Interculturalism: Listening to Performance by Marcus Cheng Chye Tan (auth.)