As an intrinsic part of the S.O.A.P. framework, the listener, while not visually represented, is implied. In practice, they have to be present within the performance environment in order to experience the work. The sounds travel from the digital environment, through the speakers into the performance space and then into the ears of the listener. I had considered adding a third environment onto the diagrams to reflect this progression, however, the content of this environment – what the listener is perceiving – is impossible to know with certainty. Leaving it implied that the listener is the third step avoids such issues with subjectivity. 

 

It should also be noted that these diagrams are designed to reflect the composer’s intended performance medium. A fixed piece for multichannel diffusion will not yield the same experience for the listener if the listener experiences that piece through headphones instead. I believe this is one of the key differences separating my framework from other analysis models as rather than focusing solely on the individual sounds, a larger focus is placed on their presentation and how this can affect the listener’s experience.