This paper will discuss acousmatic music as a simultaneously musical and narrative art form. Acousmatic narrative will be considered from the dual perspectives of the composer and the listener, and we will investigate some of the differences between these, and some of the mechanisms at play. A case will be made for the act of acousmatic composition as an ideal site for exploration and research into narrative processes. The composition and reception of the author's work Déchirure will be used as an illustrative example.
Centre for Music & Technology, Sibelius Academy, University of the Arts Helsinki