Abstract
Although it may seem that in the past musical composition got by well without specific knowledge of music acoustics, in fact the acoustical knowledge of each epoch has always determined the representational framework within which the composer formulates his ideas. For the last 50 years, however, composition in the field of electroacoustic music has required far more explicit and detailed acoustical knowledge than was the case for instrumental music. The relationship between music acoustics and composition today is one of reciprocal influence: frequently research in music acoustics is put to good (if sometimes surprising) use by composers. Sometimes, however, composers’ needs have led to important research in music acoustics. The present paper illustrates this reciprocity with examples from the areas of sound synthesis, physical modeling, and the simulation of reverberant spaces, and speaks of the importance of research for contemporary composition. In addition, the author presents a wish list for future work in music acoustics.
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