in 1955, jérôme peignot and pierre schaeffer were the first to use the term acousmatic to define the listening experience of musique concrète. in his 1966 publication "traité des objets musicaux" schaeffer defined the "acousmatic" as: "acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it" (schaeffer 1966: 91). schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone. the concept of reduction (epoché), as used in the husserlian phenomenological tradition, underpinned schaeffer's conceptualization of the acousmatic experience. in this sense, a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception. the purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty. this reductive procedure redirects awareness to hearing alone. schaeffer remarked that: "often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context" (schaeffer 1966: 93).