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E-book The Race of Sound : Listening, Timbre, and Vocality in African American Music
Whether the vocalizer is heard over the radio or the phone, as part of a movie soundtrack or in person—positioned far away and therefore hard to see or speaking right in front of the listener—the foundational question asked in the act of listening to a human voice is Who is this? Who is speaking? Regardless of whether the vocalizer is visible or invisible to the listener, we are called into positing this most basic question—a question of an acousmatic nature.The specific term, originally connected with the concept of musique acous-matique, originates with Pierre Schaeffer. Deriving the term’s root from an ancient Greek legend that described Pythagoras’s disciples listening to him through a curtain, Schaeffer defined it as “acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it.”1 Originating with an electronic music composer, the term contains an assumption about the par-ticular affordances of a particular historical-technical moment. That moment arrived with the introduction of recording technology, which made it possible to sever the link between a sound and its source. In playing back the recorded sound, the source did not need to be present or active. Famously, Victor Re-cords’ iconic logo showed a loyal dog desperately seeking the source of “his master’s voice” (as the original painting was titled), even as the master lay dead in the casket upon which the dog sat.2 While the acousmatic has been explic-itly theorized in relation to the advent of recording and telephonic technology, scholars have even traced the phenomenon of the division between sound and source to ancient times, when tension was created by the unavailability of the source to the listener.
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