Since Schaeffer’s development of musique concrète, there has been an ongoing debate regarding the value of the acousmatic reduction for engaging with real-world sound in music, and its relevance for composers and listeners. This article presents a way of working with acousmatic sound that is more meaningful to me as a composer, which I have labelled experiential listening. In understanding acousmatic sound through the lens of experientialism (as opposed to Schaeffer’s use of phenomenology), I have devised this method to form a dialogue between sound, composer, and listener through the use of metaphor, to explore concepts beyond the experience of just sound in itself while composing. It accounts for the felt sense of intuition that can form through working with acousmatic sound, presenting a way of using this as a tool for self-understanding. It highlights Brian Kane’s ontology of acousmatic sound as the being of a gap, exploring where this gap can take the mind of the composer and listener. This is illustrated through my use of experiential listening to gain insights into lived experiences of mental illness and trauma, which reveals inner wisdom about the listening self that can be negotiated through acousmatic sound.

中文翻译：

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声学差距作为一种灵活的自我理解途径：体验式聆听的案例

自从 Schaeffer 发展具体音乐以来，关于声学还原对于在音乐中融入真实世界声音的价值及其与作曲家和听众的相关性一直存在争议。本文介绍了一种处理原声声音的方法，这对我作为作曲家来说更有意义，我将其标记为体验式聆听。在从经验主义的角度理解原声（与谢弗对现象学的运用相反）时，我设计了这种方法，通过使用隐喻来形成声音、作曲家和听众之间的对话，探索超越单纯声音经验的概念在作曲时本身。它解释了通过使用原声可以形成的直觉感，提出了一种将其用作自我理解的工具的方法。它突出了布赖恩·凯恩（Brian Kane）作为间隙存在的原声本体论，探索了这种间隙可以将作曲家和听众的思想带到哪里。这可以通过我使用体验式聆听来深入了解精神疾病和创伤，它揭示了关于倾听自我的内在智慧，可以通过声音进行协商。