Thesis by Andrew McManus
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The analysis of electroacoustic music has long been difficult. Most works lack external documentation (a "score"), and thus the analyst is left with only the tools of listening and perception. This paper uses theories of film sound structure, organization and semiotics to posit new frameworks for understanding electroacoustic music. One of these involves the notion of "blind cinema", a term I use to describe soundscapes whose structure is governed by shifts in sonic "perspective". Just as film sound can move among points of audition and between diegetic and non-diegetic realms, so too can the realm of electroacoustic sound alone. I explore this topic using films that employ electroacoustic sound in a myriad of ways: "Spellbound" (Hitchcock), "Pi" (Aronofsky), "Solaris" (Tarkovsky), "Clean, Shaven" (Kerrigan), and "Noise" (Saville).