Electronic sound in post-war Japan: creation, consumption, representations
Résumé
According to the definition proposed by Leigh Landy, electroacoustic music is music
in which electricity is used not only to record and amplify sound, but also to create the musical
material.
Electroacoustic music thus has more to do with the question of means and material
than with the question of stylistic traits. Although in electroacoustic music the sound material
is recorded sound, it can be of two types: microphonic, that is to say picked up by a microphone,
or electronic, that is to say synthesised. Each of these two types has a profound influence on the
way in which this sound material is developed and on the understanding of the sound.
I would like to look at representations
of electronic sound in Japan. This research project will look specifically at the evolution of
representations of electronic sound as it became a commodity in the 1970s.
I will present
some questions that form the starting point of my reflections. These questions concern, on the
one hand, the ways in which electronic sound is perceived in the continuation of microphonic
sound in the context of the creation of electroacoustic music and, on the other hand, the ways
in which electronic sound is perceived in the context of its widespread dissemination in society.
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