ABSTRACT
Since electroacoustic technology has made it possible to utilise a sounding repertory no longer restricted to a pitch-based model it allows composers to create a music in which timbral possibilities are more fully explored but at the same time imposes new demands on its audience. This paper will examine to what extent there are perceptual dilemmas for listeners and will focus on two interrrelated developments. Firstly, the question of source recognition: the computer allows complex transformation between sounds which increases the likelihood of ambiguous recognition of a source. Secondly, human presence: traditional instrumental and vocal music have always been intrinsically connected with human activity but the notion of human presence may not a priori be experienced in electroacoustic music. This paper will conclude most importantly with a discussion of new analytical processes demanded of the listener.
