Following the lecture from 26 February 2024 led by Berk Yagli, his approach in analyzing acousmatic music from the perspective of perception rather than composition drove me to delve into my approach and relationship with the term. On of the key takeaways from this lecture was the perspective towards acoustic sound focusing on the use of material as the source

In my own practice and interest, I relate the term to Pierre Schaeffer’s initial utilization of the word in reference to an auditory situation. Sound which is heard without seeing the root or cause of its source. Beginning with the radio, telephone, and television, it generally relates to the situations that arise in audio-visual works such as film. As it relates to film, I associate acousmatic soun to nondiegetic sound as well. Sound that is perceived by the viewer, but not by characters in the dimension of the film. Musical accompaniment is the primary example, allowing for the progression and depth of emotional contexts to occur alongside characters and situations.

In an effort to demonstrate my musical approach for creating an acousmatic soundscape for a nondiegetic context, I manipulated field recordings from the underground and created rhythmic loops with them. The result is a breath that hints towards having musical qualities but allows for space and an indirect sense of what is creating the sounds prevalent.