Non-traditional Acousmatic music: Made in sound art studios, on fixed media, and built specifically for concert diffusion, but also for variations that include performers.

After the initial work is done, resulting in a straightforward acousmatic work, selected areas are channelled into a separate headphone feed. The headphones are given to a performer who is instructed only to imitate the sounds heard. Performers have had a few varying interpretations of these instructions so far.

Ricardo Climent uses the approach to tease out non-idiomatic performances in studio situations when he records instrumentalists to use as sound sources. (an oversimplification, but I can't find the paper on it anywhere!) I recall, but I'm not positive, that he may have used the same technique when building the violin piece Koorean Air(2010) with ftp://2368784_rick:@ricknance.org//ricknance.org/pgs/myarts-pg5.htmlDarragh Morgan.

Adam Stanović addresses the same solution from a different angle. adamstansbie.com/music

In the first pieces there was only the solo electroacoustic score, or an aural model. In here, the performance is entirely acoustic. Only the instrumentalist hears the EA part and the audience only the performer. Using the same Parables, I now have recorded versions on trumpet (myself) and soon on bass clarinet (Virginia Anderson). Several new parables, made from paper and birch bark samples, have been recorded from guitar (Davey Williams) and cello (Craig Hultgren) and trumpet.

Two cellists with two very different results. Maybe it's something to be described through some sort of alchemical maths. The modeling of sound, by sound, gives 0 degrees of freedom, and results in infinite variation.

Here's the acousmatic version: Freezing metal sounds here are re-channelled to the performer.

Drew Petrie playing K, in the dark. A fully acousmatic realisation that includes a performer.