> [Adkins et al. - 2016 - Post-Acousmatic Practice Re-evaluating Schaeffer’.pdf](file:///Users/tomoya/Zotero/storage/9MXHRA65/Adkins%20et%20al.%20-%202016%20-%20Post-Acousmatic%20Practice%20Re-evaluating%20Schaeffer’.pdf).
> [!Abstract]
>
> This article posits the notion of the post-acousmatic. It considers the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. It will outline the authors’ definition of the term and also outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors’ consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking.
> The rich possibilities of acousmatic performance today rest in part on changes in technology. The technological tools which were once hidden away under lock and key in the institutional Computer Music Studio are now ubiquitous, and they are portable. Any desktop or laptop computer, and increasingly phones, tablets and other devices, can now be used to make acousmatic music or any other kinds of electronic music.
> What initially started as different genres of music utilising the same tools for different ends has resulted in a gradual osmotic transference over the past decades in studio-based genres of influences, tools, methods and writing techniques that have facilitated a more sophisticated dialogue between each of them rather than a shallow reciprocal plundering.
> If, as Demers writes, we define ourselves by the art we consume, then to an extent we are also defined by the manner in which we choose to consume it.
