French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late 1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettled clear divisions between high and low cultures. Attending in particular to the question of subjectivity as it appears in the theoretical writings of the composers Pierre Schaeffer and François Bayle, the article aligns Bayle's thinking with that of contemporary writers including Julia Kristeva and Roland Barthes, who launched a critique of the Enlightenment subject. This theoretical nexus suggests that Bayle's L’Expérience acoustique (1969–1972) posits a form of subjectivity closer to the psychedelic counterculture than to the sober listening of Schaeffer's writings. In unsettling the Schaefferian listening subject, the piece opens itself to a heterogeneous listening, the social consequences of which remain significant today.

中文翻译：

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吓坏了！在acousmium：弗朗索瓦·拜尔和主题的动态

战后几十年的法国电声音乐通常与排斥流行或大众文化的高度现代主义联系在一起。本文将电声音乐置于 20 世纪 60 年代末和 1970 年代，与这一时期文化场域的转变相关，这种转变打破了高雅文化和低俗文化之间的明显界限。本文特别关注作曲家皮埃尔·谢弗和弗朗索瓦·拜尔理论著作中出现的主观性问题，将拜尔的思想与包括朱莉娅·克里斯蒂娃和罗兰·巴特在内的当代作家的思想结合起来，后者发起了对启蒙运动主题的批判。这种理论联系表明，贝尔的《声学体验》（L'Expérience acoustique，1969-1972）提出了一种更接近迷幻反主流文化的主观性形式，而不是冷静地聆听谢弗的作品。这部作品让谢弗式的聆听主题感到不安，它向异质聆听敞开了大门，其社会后果在今天仍然很重要。