ABSTRACT
This chapter presents discussion on the use of 'models and analogies' for the generation of musical material or structure. It argues that much of contemporary practice reveals a process of 'reanimation' – a reengagement by musicians in the 'flux of the world's processes'. There are two contrasting views of Karlheinz Stockhausen's use of radio sound. As 'basic material' the sounds produced are rich and complex, a 'simple' way of producing interesting electronic sound events. However, in the live works especially, these are more than 'sound objects', and relate strongly to the traditional idea of motif or cell. In the live scores, performers must 'search' the tuning dial and choose interesting events according to more or less defined criteria. Reanimation of both sounding and non-sounding worlds through such 'models and mapping' and the consequent 'playing' of the soundscape as instrument have been presented as reaffirmations of life and 'live indicators' in music.
