Ecological Psychology and the Electroacoustic Concert Context

Abstract

An application of ecological psychology, based on the work of James J. Gibson, to electroacoustic music would consider the listener in relationship with both the work and the environment, in a dynamic and mutually informing relationship. This perspective is applied to various electroacoustic concert paradigms, demonstrating a wide range of listening experiences; the implications for electroacoustic music as a genre are examined. Several qualities of acousmatic music are used to explore some potential limitations of Gibson's theories. Finally, some relative strengths and weaknesses of ecological psychology are considered, as well as some potentially fruitful cooperations with other, somewhat divergent, theoretical approaches.