Dissertations / Theses on the topic 'Electroacoustic music'
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Velloso, Rodrigo Cicchelli. "Electroacoustic music composition." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338057.
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Loufopoulos, Apostolos. "Nature in electroacoustic music." Thesis, City University London, 2004. http://openaccess.city.ac.uk/8441/.
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This thesis accompanies the six submitted works, focusing on the utilisation of nature as a compositional factor, and its appreciation in the context of electroacoustic music. Apart from providing a separate discussion of each work. the thesis introduces a theoretical framework, where nature is defined in different types and sources, and where the idea of `naturalness' within a musical context is approached through an examination of certain sound-behaviours. Reference is made to compositional methods used in the six works.
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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.
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Field, Ambrose Edmund. "Electroacoustic composition." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.
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The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in developing a coherent compositional approach for the integration of natural sounds into complex musical hierarchies. Simulated sonic environments are identified as being effective in this aim, as it is possible for the composer to exert considerable control over the development of their individual sounding elements. The characteristics that define simulation, and the interaction between sound sources and spaces were analysed. The notion of context bonding was introduced, which aims to link Smalley's concept of surrogacy' to a sound's extrinsic connotations. Discovery strategy is a practical methodology that was developed whilst composing the creative work that accompanies this dissertation. By using a set of structural devices called steering processes, it aims to assist first-time listeners in decoding the structural characteristics of a work. Steering processes couple simple and easily recognisable rhetorical codes of communication to a clear underlying sub-structure. Discovery strategy techniques do not attempt to simplify works for easy listening. Moreover, they allow the potential for more listeners to access the inner structural details of a piece. As the creative folio demonstrates, this can result in a musical surface that is highly distinctive and energetic.
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Woolley, Jason Stancey. "Electroacoustic composition portfolio : Energy, movement and direction in electroacoustic music." Thesis, Manchester Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534241.
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Practice-as-research is a mixed mode approach to PhD study, and this complementary writing discusses the conceptual and critical topics engaged with during the practical realisation of an Electroacoustic composition portfolio. The general research aim was to explore and develop personal Electroacoustic compositional technique, with the specific objective of exploring approaches to the creation of sound materials and structures that might suggest to the listener Energy, Movement and Direction within the context of Acousmatic Composition. To aid the critical contextuaIisation of the study, the documentation begins with a literature review, which gives a broad overview of current theoretical knowledge on the topic. The second chapter is concerned with the selected methodologies of the study, and whilst including some detail of the compositional processes, it also attempts critically to contextualise these with further discussion of pertinent theoretical issues. The final chapter presents an analysis of two Acousmatic pieces, one of which, What Lie Within, is from the accompanying portfolio, the other is Natasha Barrett's ... fetters ... (2005). The third chapter analysis includes the use of Spectrograms and proposes an expansion of Cogan's Theory of Oppositions, and in doing so, attempts to make constructive comparisons on how the musical structures of each piece change over time. This study found that the portfolio title, specifically, Energy, Movement and Direction, could be explored not just as framework for development of indexical sound signs, but could also serve the compositional process as a structural and conceptual catalyst. The study also found that engagement with critical thinking such as that found in the semiological frameworks of Peirce. Saussure and Derrida assisted the compositional process. Using Peirce's tripartite of signification to explain how sound might act as a sign in the cognition of the listener was useful in fonningstrategic approaches to the development of the compositions. The analysis of musical structure over time by applying a development of Cogan's Theory of Oppositions ( 1984) to the aural and abstracted graphical traces of two Acousmatic compositions proved useful in that it helped inform the development of subsequent compositions within the portfolio
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Bergsland, Andreas. "Experiencing Voices in Electroacoustic Music." Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2010. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-12152.
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This dissertation presents a framework for describing and understanding the experience of voices in acousmatic electroacoustic music and related genres. The framework is developed with a phenomenological basis, where the author’s own listening experience has been the main object of study. One component of the framework has been to group aspects that potentially can be attended to into experiential domains based on some common feature, relationship or function. Four vocal experiential domains related to the voice are presented along with three domains not directly related to the voice. For each of these domains, a set of concepts are introduced allowing for qualification and description of features of the experience. The second component of the framework, the maximal-minimal model, is partly described through these domains. This model presents maximal and minimal voice as loosely defined poles constituting end points on a continuum on which experienced voices can be localized. Here, maximal voice, which parallels the informative and clearly articulated speaking voice dominant in the radio medium, is described as the converging fulfillment of seven premises. These premises are seen as partly interconnected conditions related to particular aspects or features of the experience of voice. At the other end of the continuum, minimal voice is defined as a boundary zone between voice and non-voice, a zone which is related to the negative fulfilment of the seven premises. A number of factors are presented that potentially can affect an evaluation of experiences according to the premises, along with musical excerpts that exemplifies different evaluation categories along the continuum. Finally, the two frameworks are applied in an evaluation and description of the author’s experience of Paul Lansky’s Six Fantasies on a Poem by Thomas Campion .
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Sefchovich, Jorge Rodrigo Sigal. "Compositional strategies in electroacoustic music." Thesis, City University London, 2003. http://openaccess.city.ac.uk/7649/.
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This thesis accompanies the five electroacoustic pieces of the portfolio and aims to discuss compositional strategies. The pieces were designed with the intention of exploring ways of creating relationships between musical materials of differing natures. Structuring methods are outlined using examples from two acousmatic and three mixed works (for solo instrument and electroacoustic sounds). Analyses from a macro- and micro-perspective aid in describing the principal elements of musical discourse and the personal methods of achieving musical coherence. Three stages of the compositional process are defined and discussed, forming a framework within which the computer sound transformations and instrumental sources are described. The first stage consists of the generation of material and the qualifying of the sounds as the basis for initial musical relationships. Then the structuring of the musical discourse is discussed, highlighting links at macro and microstructural levels. Finally, issues of performance are discussed. Feedback from the performer and the design of a common synchronisation method for the three pieces drives the structural design of the works. Musical material and the visual information during performance are investigated, and consideration is given to their implications throughout the compositional process.
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Caesar, Rodolfo. "The composition of electroacoustic music." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412262.
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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.
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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.
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Gatt, Michael. "Tools for understanding electroacoustic music." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10754.
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There is an arguable lack of activity and interest in the analysis of electroacoustic music when compared to its composition and performance. The absence of a strong and active analytical community is very concerning, as it should be a fundamental part of any larger musical community that wishes for works to be performed and discussed in later years. The problems that face electroacoustic music analysis are that there is no consensus or single analytical tool/methodology that dictates how such an activity should be undertaken. Rather than attempting to appropriate existing tools meant for traditional musics or create a new universal one this thesis will argue that a new culture should be adopted that promotes different opinions on the subject of electroacoustic music analysis, as opposed to defining a consensus as to how it should be conducted. To achieve this the thesis will: evaluate and critique what constitutes and defines electroacoustic music analysis; provide a general and flexible procedure to conduct an analysis of an electroacoustic work; develop a set of criteria and terms to cross-examine the current analytical tools for electroacoustic music in order to define the gaps in the field and to identify pertinent elements within electroacoustic works; analyse a number of electroacoustic works to test and implement the ideas raised within this thesis; and finally the concept of an analytical community (in which such a culture could exist) is outlined and implemented with the creation of the OREMA (Online Repository for Electroacoustic Music Analysis) project. This universal approach will cover both epistemological and ontological levels of electroacoustic music analysis. All of the concepts raised above are interlinked and follow the main hypothesis of this thesis: • There is no one single analysis that can fully investigate a work; • Analyses are a perspective on a work, ultimately formed through the subjective perception of the analyst; • These perspectives should be shared with other practitioners to help develop a better understanding of the art form. This PhD study was part of the New Multimedia Tools for Electroacoustic Music Analysis project (2010-2013) funded by the Arts and Humanities Research Council (UK). Other outcomes of that project included the various analysis symposiums held at De Montfort University in Leicester and the electroacoustic analysis software EAnalysis created by Pierre Couprie.
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Blackburn, Manuella. "Portfolio of electroacoustic music composition." Thesis, University of Manchester, 2010. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-electroacoustic-music-composition(3a1d224f-5d60-4fa8-8049-1e7c1f937b3f).html.
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This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester. The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley’s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awareness of its presence at work. In a reversal of conventional practice, my research approaches spectromorphology from an alternate angle, viewing the vocabulary as the informer upon sound material choice and creation. In this reversal, vocabulary no longer functions descriptively; instead the vocabulary precedes the composition, directing my compositional pathway in each piece. This new application, used as a method for selecting and creating sound in the creation of each portfolio work, is an attempt at systemisation and an effort to partly remedy the seemingly endless choice of possibilities we are faced with when beginning a new work.
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Ishii, Hiromi. "Composing electroacoustic music relating to traditional Japanese music." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8488/.
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Throughout the history of Japanese contemporary music composers have been exploring ways to merge Western-style art music and their original, traditional Japanese music. Although in the past compositions which applied expressions of traditional Japanese music to Western-style music were partly successful, ensembles of Western and Japanese instruments often resulted in a serious mismatch. The starting point of this paper is this experience of Japanese contemporary music. It insists that, while the cause is composers' ignorance of the difference in musical parameters between the two musics, those of electroacoustic music can be compatible with Japanese musical tradition in spite of its background in Western culture, because the most developed genre of Japanese music is timbre-dominant. This research examines, from the viewpoint of electroacoustic composition, the musical parameters, acoustical structure and sound aesthetics of traditional Japanese music, and explores the compositional strategy of live electronics for these non-Western instruments, applying them to acousmatic composition.
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Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.
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Hadfield, Graham Patrick. "Towards an epistemology of electroacoustic music." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555146.
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This thesis draws on elements of epistemology (the philosophy of knowledge), the philosophy of mind, and ethics in coming to form what might be used as a musico- epistemic tool in the composition of electroacoustic music. To do this it is necessary to consider what constitutes knowledge and how we can come to have knowledge. Using belief as an essential requisite the thesis considers what is required for mere belief to be elevated to the status of knowledge - what justification one requires to make a veracious knowledge claim. The discussion then considers how one can come to know the content of another person's (a listener's) mind. That is, how one (the composer) can come to know what listeners' beliefs are or knowledge is about certain things. The theory that is accepted (explaining how we can have knowledge of other minds) is grounded in folk psychology and is called simulation theory. In relation to this the thesis then considers how composers might make choices about their musical materials (aesthetic judgement) in an ethical manner, thereby affording us an ethics-injected version of simulation theory. The arguments which are put forward in this thesis are presented, in conjunction with the music folio, as documentary evidence of the bi-directional influence of my philosophical thinking on my composition and vice versa. Formulation of the written element of this thesis has been accomplished by research and reflection conducted before, during, and after composition. Rather than being a pre- or post-compositional thought description, or a collection of organised jottings made during composition considered separately, the intention is to document a more all-encompassing (not time-specific) thought process.
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Dodd, Rose. "Electroacoustic and instrumental music : composing knowingly." Thesis, University of Huddersfield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431522.
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Parry, Aneurin Stefan. "Limits of abstraction in electroacoustic music." Thesis, City University London, 2000. http://openaccess.city.ac.uk/1129/.
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In this thesis the relationship between abstract and representational aspects of electroacoustic music will be discussed. Such an exploration exposes the limits of abstraction in electroacoustic music, as the interaction between musical form and the world outside the immanent context of the work is revealed. In Chapter 1 an examination of the complex system of relationships between sounds within a musical structure and the representational nature of many of the sounds themselves, referring to their origins in the real world, suggests analogies with poetic texts and early twentieth century painting. In Chapter 2 there follows a discussion of ideas contained in Simon Emmerson’s article The Relation of Language to Materials (Emmerson, 1985). Emmerson’s ideas are examined and expanded, with particular regard to the relationship of syntax and discourse. In Chapter 3 the compositional methodology of sound manipulation is discussed, contrasting analytical and synthetic approaches to sound transformation and Ten Hoopen’s model of the specific / surrogate continuum (Ten Hoopen 1994) is discussed and developed. An analogy between structures based on dissonance / resolution and ambiguous / specific source recognition is developed with particular reference to the work Grand Junction. In Chapter 4 a new model, the associative field model, is proposed to examine more closely the nature of ambiguous source recognition with particular reference to the cycle of Seasons. The rôle of ambiguity in aesthetic appreciation is discussed. Finally, in Chapter 5, the interaction of the work with its wider context is discussed. The influence of literary accompaniments to the work, such as the title and programme note is considered as is collaboration in the form of music specifically created for contemporary dance, as exemplified in The Killing Floor. The interaction of the work and the performance space is considered in the site-specific installations Boomtown and Living Steam.
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Waters, Simon. "Electroacoustic music : composition beyond the acousmatic." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338056.
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Lotis, Theodoros. "Space and light in electroacoustic music." Thesis, City University London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270609.
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Menzies, Dylan. "New performance instruments for electroacoustic music." Thesis, University of York, 1999. https://eprints.soton.ac.uk/371730/.
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Essegulian, Mihran Essegulian Mihran Essegulian Mihran. "Heterophony and electroacoustic music a synthesis /." [Montréal] : Université de Montréal, 1997. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ75914.
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Thèse (D. Mus.)--Université de Montréal, 1997."NQ-75914." Ex. 1: la cassette son. manque. Version électronique: la cassette son. manque. Constitue la thèse de l'auteur conjointement avec: In nomine, et: Hétéromodes : for piano and tape (catalogués séparément). "Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Docteur en musique (D. Mus.) option composition." Version électronique également disponible sur Internet.
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Ratto, Diego. "Electroacoustic Orchestration : Timbre, Space and Sound Material Organisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3144.
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As a composer of electroacoustic music, I’m interested in understanding which characteristics of classical orchestration can be used in electroacoustic music after these years of its development. In specific, which aspects of orchestration can be used as powerful techniques in acousmatic music? The aim of this study is to create connections between the conventional acoustic orchestration practice and electroacoustic orchestration by using a transfer2 technique.
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Pasoulas, Aki. "The perception of timescales in electroacoustic music." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1155/.
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The purpose of this doctoral research is to explore the nature and perception of timescales in electroacoustic music, to examine modes of experiencing time, and to discover a method that uses this knowledge to the advantage of the composer. Although the main focus is on acousmatic works, much of the research presented here has a broader scope and is relevant to music and sound art in general. This thesis is initially inspired by Deleuze’s philosophical views on time to discover relationships between the flow of time and music, and continues to investigate time perception by exploring prevalent theories in the fields of psychology and psychoacoustics. In parallel, it identifies and systematically analyses a set of factors that influence time perception and the formation and segregation of timescales. Theoretical analysis, hypotheses and reasoning were practically tested in the five electroacoustic pieces composed for this particular research. The study revealed and reinforced the importance of psychological time in perception and interpretation of structures in music, developed the idea of using parallel temporal forms in composition, and through an exploration of timescales, it necessitated a redefinition of microsound. Moreover, an analysis of extrinsic and intrinsic factors that affect our perception of time and thus our interpretation of a musical work reinforced the notion of acousmatic music as a holistic experience that comprises all its surrounding elements at the time of listening. This research is useful for both the composer and the analyst because it offers insights into time structures, and a better understanding of the listener’s response to temporal constructs.
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Lane, Cathryn Mary. "Space, motion and metaphor in electroacoustic music." Thesis, City University London, 2000. http://openaccess.city.ac.uk/8220/.
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This submission discusses the development of a compositional language which is expressive of 'lived' experience with relation to the works on the enclosed compact discs, Fal/out, Nesting Stones, Invisible Crowds, Bath, Hidden Lives and Scan. The main features of this language are a musical production of space which is mimetic of non-musical experiences of space, and the development of gestural metaphor. Through a process of metaphorical transduction, this links image schema derived from a variety of lived experiences of space and motion with the manipulation of richly associative sound material in order to express emotional and psychological experiences through the production of musical works. The thesis starts by looking at changing concepts of space, the ways that we experience space using our senses, different types of space and the features and qualities of some of those spaces. These topics are then investigated in relation to musical composition and a variety of possibilities are discussed, some of which are related to aspects of the compositional practice in the works presented. This is followed by a discussion of sound material and the use of various structuring devices to create sound worlds, both generally, in terms of contemporary practice, and specifically, in terms of the works presented. A survey of the possibilities of the compositional uses of motion and metaphor completes the consideration of the individual features of this compositional language. The final chapters of this thesis are devoted to the consideration of how the elements already discussed work together in a gestural metaphor and how its use as a structuring device develops and changes in the works presented.
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Viñao, Alejandro. "Magic realism in music : four electroacoustic compositions." Thesis, City University London, 1987. http://openaccess.city.ac.uk/8344/.
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The subject of this thesis is not the text contained in this book, but the four electroacoustic compositions presented: Go, Hendrix Haze, Triple Concerto and Toccata del Mago. The purpose of this writing is to put forward a context in which these four compositions may be assessed. In chapter 1, I choose to present my work taking a lateral approach. Rather than discuss my background as a composer and the reasons or 'necessity' for using the electroacoustic medium to express my musical thinking, I have instead introduced a new idea to provide a wider context: Magic Realism in music. I have developed the notion that there is a musical equivalent to Magic Realism in literature, and that my work, as well as the work of other Latin American composers, may be seen in this light. Also in this chapter, I put forward the idea that the electroacoustic medium may be the natural environment or 'habitat', as it were, for the Magic Realist composer to develop. Chapters 2 to 5 present a specific framework, that is, the aesthetic point of VIew and the technical means involved in the creation of each piece. In these chapters, the compositional process is presented, from the first, often abstract ideas that trigger the imagination of a composer, to the decision taken during the final production stage in the studio. It is hoped that this specific framework will convey the necessary Information required for a preliminary assessment of the music presented, in terms of the composer's aims and the results obtained. Yet, a piece of music can be a far more complex and richer phenomenon than the composer's aims and intentions, and it must be ultimately assessed in its own terms.
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OrtiÌz, Gabriela. "Compositional techniques in acoustic and electroacoustic music." Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310446.
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Gray, David. "The visualization and representation of electroacoustic music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/10561.
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In Chapters 1 and 2 there are definitions and a review of electroacoustic music, and then visualization generally and as applied to music. Chapter 3 is a review of specific and relevant literature as regards to the visualization of electroacoustic music. Chapter 4 introduces the concepts of imagining as opposed to discovering new sound, and what is important to this research about these terms; in addition what is meant and indicated by them. Chapter 5 deals with the responses that composers currently working have made to the enquiry concerning visualization. In this chapter these responses are dealt with as case studies. In a similar way, Chapter 6 looks at some examples of historical work in electroacoustic music, again as case studies. In Chapter 7 a taxonomical structure for the use of visualization in electroacoustic composition is established and derived from the case study results. Chapter 8 looks at relevant examples of software and how they offer visualization case studies. Chapter 9 looks at the place of the archive in various stages of the compositional process. Chapter 10 investigates the problems of visualizing musical timbre as possible evidence for future strategies. Chapter 11 offers some conclusions and implications as to the main research questions, as well as more specific outlines of potential strategies for the visualization of electroacoustic music.
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Rosas, Cobian Michael. "Electroacoustic music composition : myth, symbol and image." Thesis, City, University of London, 1997. http://openaccess.city.ac.uk/17771/.
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This thesis presents the author's musical compositions through the elucidation of their source impulse. In order to facilitate the unveiling of the works presented in this thesis I have subdivided it into sections thus: Section 1 - Here I introduce the reader to the motivation behind my music composition work and discuss the elements which inform my cosmology through the elucidation of the concepts and methods used in the realisation of the compositions. Section 2 - An introduction, discussion and conclusion to the series heading of Raza. The compositions and chapters are as follows: Chapter 3, Lucero for charango and tape; Chapter 4, Gato's Raid for marimba and tape; Chapter 6, De Luna a Luna ... for two percussionists and tape. In this section I address that particular musical imagery which is directly related to my cultural roots. Section 3 - An introduction, discussion and conclusion to the series heading of Urbis. The compositions and chapters are as follows: Chapter 9, Urbis #2 'passing moments/riffs & raffs' for bass clarinet and tape; Chapter 10, Urbis #3 'Alter ego' for electric guitar, live electronics and tape; Chapter 11, Urbis #4 for tape. In this section I address the use of modern urban culture symbols in order to create a contemporary mythological canon. Section 4 - A conclusion to this thesis.
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Barrett, Natasha Lee. "Structuring processes in electroacoustic composition." Thesis, City University London, 1997. http://openaccess.city.ac.uk/7468/.
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This thesis accompanies the folio of electroacoustic compositions, describing the reasons behind, and methods of realising, the compositions. Each approach is designed to create a musical structure that relates sound materials throughout the work in a meaningful way, with the final aim of presenting a memorable experience, enticing further listening. These relationships are explained by analysing the musical structure and by presenting sound examples on local and global scales. The methods by which we may perceive and remember sound information are important to the compositional processes. Detailed relationships achieved by using computer sound-transformation and mixing techniques are shown to provide scope for listeners to explore and react personally to the music, investigating the structure with different listening strategies. The significance of pitch in acousmatic music is shown to have an underlying and unifying structural role. Methods of unifying structure and capturing the listeners' attention over longer durations are investigated by considering sound-behaviour throughout the composition, and the listeners' perception of time in relation to different sound materials. The discussions suggest coherence not evident on a local scale. Composition of the work involving mixed media attempt to integrate the different parts such that the listener's attention focuses on the totality. Consideration of the differences between acousmatic, visual, and live aspects, affect the structural coordination between different media and the complete structure itself.
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Guillamat, Julien. "A portfolio of electroacoustic compositions." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5085/.
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This Portfolio is formed of 9 compositions that have been selected in order to reflect the variety of the music I write. It is a journey through my personal approach to sound and writing music using one voice but several compositional techniques. It includes one stereo and four 8-channel acousmatic compositions; they constitute the core of my thesis. Two works are written for both live instruments and electroacoustic medium, focussing on the performance aspect. One stereo acousmatic piece has been written for a choreographer; it is the fruit of a very productive collaboration. The final piece of this portfolio has been commissioned by the Barber Institute of Fine Art; it is an 8- channel acousmatic composition based on a Magritte’s painting, to be played in an installation context with the painting.
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Alcorn, Pamela Mary. "Perspectives of electroacoustic music : a critical study of the electroacoustic music of Jonathan Harvey, Denis Smalley and Trevor Wishart." Thesis, Durham University, 1992. http://etheses.dur.ac.uk/1201/.
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This thesis presents a study of the electroacoustic music of three composers living and working in Great Britain - Jonathan Harvey, Denis Smalley and Trevor Wishart - in the broader context of issues raised by the application of technology to music. The thesis has two main aims: to celebrate the diversity of musical languages to which the electroacoustic medium lends itself, as illustrated by the works of these three composers; and to discover and establish themes which suggest the existence of a common compositional aesthetic underlying these developments. To this end, the writings of each composer are discussed and compared in addition to their compositions. The particular question of the influence of technology on musical material and musical language, as illustrated through the works of Smalley, Harvey and Wishart, is examined, and related issues such as the effect of the mechanisms involved in the human perception of sound on the understanding of musical structure are discussed. Specific musical examples for chapter three (Denis Smalley) are presented on DAT tape, and listed in Appendix 1. An additional cassette is included, illustrating the analysis-by-tape method described in chapter three, preliminary sketches and melodic material for Jonathan Harvey's 'Ritual Melodies' (chapter four), and MIDI sketches for Wishart's orchestral dances (Conclusion); these are also listed in Appendix 1. All source material is listed in Appendix 6.
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Thomas, Joanne May. "Electroacoustic composition indicative of human agency." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8482/.
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The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel.
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Berweck, Sebastian. "It worked yesterday : on (re-)performing electroacoustic music." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/17540/.
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Playing electroacoustic music raises a number of challenges for performers such as dealing with obsolete or malfunctioning technology and incomplete technical documentation. Together with the generally higher workload due to the additional technical requirements the time available for musical work is significantly reduced. Many of the issues have their roots in composers, publishers, performers and promoters considering how their work process could easily be adapted to the additional demands of electroacoustic music. It was also found that the employment of music technologists cannot sufficiently make up for incomplete documentation and inadequate archiving of compositions. Using case studies made up of single compositions and whole concerts, solutions are proposed, which the several parties could effortlessly employ to considerably ease the process of preparing and performing electroacoustic music. Finally hands-on methods on how performers can deal with the situation as it is today are proposed. It is being hoped that by implementing these strategies not only better performances of electroacoustic music will be facilitated but also that electroacoustic works in general will enjoy a longer life-span in the future, thus enabling the sustenance of a vivid electroacoustic repertoire.
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Evans, Francois Michel. "Aural image and the language of electroacoustic music." Thesis, City University London, 1996. http://openaccess.city.ac.uk/8271/.
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A thesis in electroacoustic composition presented as a set of five electroacoustic works: Monches en bois ... manches de joie, Repeal, Suite from 'List of Contents, Corporation and Conquate de Z 'espoce recorded on digital audio tape and accompanied by scores and a text. The whole forms the sharing of a personal strategy for electroacoustic composition. The text is in two parts. The first, through five chapters, expounds the author's approach to composition and shows how it is based on filmic models for the treatment of sound and aural image. Chapter One explains the author's concept of 'aural cinema' and defines briefly some analytical terms of reference needed for subsequent chapters. Chapter Two describes a general-purpose model for the language of film sound as developed by Claudia Gorbman, so that it can later be compared to aural cinema. Chapter Three describes the author's perception of how his music is heard by his audience and, in applying Gorbman's filmic model to the seemingly incompatible world of aural cinema, develops a term of reference for approaching electroacoustic music using aural images in composition -the phonoscope. In Chapter 4, the relationship between these two models: diegetics and phonoscopy is examined as it relates to the author's technique of composition. Finally, Chapter Five lays down some preoccupations of the author: transformation, experiential rhythm and sane ground-rules for a 'phonoscopic' approach to composition. Part Two of the text (chapters Six to Ten) shows how the author's approach to composition works in practice, by describing the making of the five pieces which form the main part of the thesis, and the composer's intended communication with the audience.
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Sundin, Paulina E. "Re-inventing harmony in electroacoustic music : a commentary on my recent music." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9289/.
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Re-inventing Harmony in Electroacoustic Music reflects on research regarding structuring pitch-based material in my music written between 1999 and 2010. The selected works illustrates the process leading up to my research based on psychoacoustic consonance and dissonance and my strategies to create a new kind of harmony – a harmony based on concrete sounds with inharmonic spectra. The discussion will refer to pieces by composers who have worked with harmony based on the analysis of sound spectra; instrumental and mixed works by spectralist composers such as Grisey, Murail and Saariaho and electroacoustic works by Harvey and others. I will address the importance of research in the psychoacoustic field, in particular, research by William A. Sethares regarding inharmonic spectra and scales and how it has affected my works.
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Fawcus, Jamie. "Resonant spaces : electroacoustic music and ritual : a commentary on my recent music." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18055/.
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The following portfolio and commentary concerns music and performance works created between 2008 and 2012, and an exposition of the research, ideas, aesthetics and techniques that connect these works. I will discuss in detail the role that archaeoacoustics has played in my composition of fixed and mixed media works and how it has influenced me aesthetically in my approach to live performance. I will also explain in each instance any actual data used from various research sources, and my metaphorical interpretation of various archaeological sites and acoustic phenomena. Similarly, I will discuss the concepts of shamanism, ritual and transcendence that have influenced me, and how these concepts are expressed in my instrumental works, fixed media and live performance pieces.
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Scrutton, Nichola Jane. "Hearing voices : electroacoustic composition portfolio and commentary." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1551/.
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The concept of voice is a fundamental thread that underpins my PhD portfolio, with the human voice being present in all but one of the compositions. The drive to make what I think of as 'voice works' has, to a large extent, been influenced by various theatrical vocal practices that are in some way concerned with the development of the natural voice. Such practices help to facilitate a broad potentiality of expression, not only through, but before or beyond text. No one method or theory has had primary influence on my work but rather, in the broadest sense, I recognise a set of affinities with many notable influential practices including that of Roy Hart Theatre; Kristin Linklater; David Moss; Joan La Barbara; Sainkho Namtchylak; and Jaap Blonk. The complicating factor, in every case, is that I also draw on a range of electroacoustic influences.Trevor Wishart's many ideas about 'the human repertoire' - vocal utterance, paralanguage, sound morphology and transformative compositional processes - are perhaps most relevant. But I have also drawn from Denis Smalley's spectromorphological concepts, particularly those pertaining to the aural perception of human gesture. My listening generally has been quite wide-ranging across genres but includes the work of Francois Bayle, Bernard Parmegiani, Francis Dhomont, Robert Normandeau, Natasha Barrett, Dennis Smalley, Yannis Kyriakides, Michel Chion and Heiner Goebels.
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Scardanelli, Simon. "A portfolio of electroacoustic and acousmatic compositions." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/914/.
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A portfolio of electroacoustic and acousmatic compositions realised through a variety of audio and audio-visual media, and with a particular emphasis on using speech as compositional material. The use of speech in compositions raises questions of political intent and responsibility, and these are addressed. The challenges of composing electroacoustic works for theatre, film and for a site specific installation are also discussed. The use of electroacoustic principles in the production of rock music is examined with reference to my own works in this genre. List of files: PDF: Commentary MP3: A Sharp Intake of Breath (2000, 6’15”) MP3: Fragments of Democracy (1999-2000, 16’55”) MP3: de(re)construction (2000, 13’21”) MP3: Aqualogica (2000, 11’13”) MP3: Guitar = God (2009, 12’16”) MP3: The Lonely Bridge Song (2001) Junkie (2’12”) MP3: The Lonely Bridge Song (2001) Begging (4’16”) MP3: The Lonely Bridge Song (2001) Background ambience (extract) (1’39”) MP3: That Dangerous Sparkle (2007) The Valentines (5’04”) MP3: That Dangerous Sparkle (2007) Let There Be A Place (4’53”) MP3: That Dangerous Sparkle (2007) When You’re Lying (3’49”)
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d'Escrivan, Rincon Julio Cesar. "Creative intuition as a compositional strategy in electroacoustic music." Thesis, City University London, 1991. http://openaccess.city.ac.uk/8711/.
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Creative Intuition can be said to be the motivating force behind the compositional act. To harness it the composer must develop those musical resources which allow him to deal with inspiration, when it comes, as well as developing the techniques to elaborate upon the inspiration received and remain true to his original vision. In this compositional folio, I have tried to highlight different ways in which I as a composer deal with musical inspiration and the development of musical ideas. For this purpose, I begin by considering the moment in time in which I have had to write the pieces included in this folio, and its impact upon my musical practice. In order to introduce my approach to sound creation, I have included a brief section on timbre creation as composition , here I revise some fundamental concepts and examine the general types of sound used and the methods of synthesis at my disposal. In considering intuition and musical association, I discuss improvisation as a compositional act. In Son del Seis , I am concerned with the composer's improvisation at his instrument and how this influences his writing; In Salta Mortal , I examine improvisation at the computer keyboard, and how it is possible, given the software facilities we have today, to operate directly upon the sounds themselves, and organize them musically, in particular I look at my approach to phrase construction with timbral gestures; In Viaje I combine the instrumental and computer improvisational approaches, dealing with pitched timbral gestures within the harmonic framework of modal jazz. The compositional manipulation of time in electroacoustic music could be seen to present different challenges to the composer than those of traditional acoustic music. In considering the poetics of time in electroacoustic music I have used Sin Ti Par EI Alma Adentro as a starting point for my discussion. In my view, setting words to music presents the composer with an opportunity to impress his own reading of the text material upon the listener, in Sin Medida , I discuss my choices in musically illustrating the three poems used. From the composition of all the pieces in this folio and my speculative explanations, I arrive at a number of concluding ideas and briefly state their relevance to my work: composition away from the traditional manuscript pad; the creative manipulation of timbre using synthesizers and samplers; the establishing of notational conventions for the representation of tape parts; the search for a compositional voice that would express my musical mind specifically in regards to integrating 'non -classical' idioms and electroacoustic sounds. In the appendix I have included my summary of a neo-thomistic notion of art, proposed by J. Maritain, to illustrate the philosophical grounds for my compositional work.
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Ferreira, Giselle Martins dos Santos. "A perceptual approach to the analysis of electroacoustic music." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326438.
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Bachratá, Petra. "Gesture interaction in music for instruments and electroacoustic sounds." Doctoral thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3547.
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Doutoramento em MúsicaEsta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.
This dissertation presents some aspects how the phenomenon of musical gesture can be understood in the perception of musical interaction in music for instruments and electroacoustic sounds. Through analytical examples, classification and categorization of different kinds of gesture relationships between instruments and electroacoustic sounds, the aim is to establish specific models of interaction that can be applied as analytical method, as well as in composition. This research departs from a variety of previous approaches to gesture in music in general, and more specifically contemporary music and electroacoustic music, in order to include the relations between two sound events with different characteristics - the electroacoustic and the instrumental. This research focuses on relations between musical gestures, through the analysis of several characteristics (pitch, rhythm, timbre, dynamics, contrapuntal, spectromorphologic, semantic and spatial). The result of theoretical research has served as basis for composition of various works, where these aspects are explored from the point of view of musical creation.
FCT
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Barclay, Leah. "Sonic Ecologies: Environmental Electroacoustic Music Composition in Cultural Immersion." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366418.
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This thesis comprises of a body of creative work and an exegesis that articulates the intentions and findings from each project. The creative portfolio is specifically focused on the development and dissemination of original electroacoustic music compositions that draw on environmental field recordings from various parts of the world. The central research question of this thesis investigates the possibilities of electroacoustic music composition in contributing towards environmental awareness and engagement. This research adopts a practice-led methodology, resulting in 24 original creative works presented as the major component of this study. The research question was addressed from a personal perspective, through a detailed autoethnographic commentary on the development of each project. The research has been conducted in cultural immersion, ranging from the centre of the Amazon rainforest to exploring significant rivers in India, Korea, China, and Australia. The findings and observations from each project led to preliminary results that highlighted the value of creating electroacoustic music in community engagement and using multi-platform dissemination of the resulting experiences. These results gradually led to the development of the Sonic Ecologies framework, a production model that the author introduces in this dissertation that underpins the creative portfolio and articulates the practice-led outcomesThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Smith, Michael Sterling. "Strategies for the Creation of Spatial Audio in Electroacoustic Music." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404593/.
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This paper discusses technical and conceptual approaches to incorporate 3D spatial movement in electroacoustic music. The Ambisonic spatial audio format attempts to recreate a full sound field (with height information) and is currently a popular choice for 3D spatialization. While tools for Ambisonics are typically designed for the 2D computer screen and keyboard/mouse, virtual reality offers new opportunities to work with spatial audio in a 3D computer generated environment. An overview of my custom virtual reality software, VRSoMa, demonstrates new possibilities for the design of 3D audio. Created in the Unity video game engine for use with the HTC Vive virtual reality system, VRSoMa utilizes the Google Resonance SDK for spatialization. The software gives users the ability to control the spatial movement of sound objects by manual positioning, a waypoint system, animation triggering, or through gravity simulations. Performances can be rendered into an Ambisonic file for use in digital audio workstations. My work Discords (2018) for 3D audio facilitates discussion of the conceptual and technical aspects of spatial audio for use in musical composition. This includes consideration of human spatial hearing, technical tools, spatial allusion/illusion, and blending virtual/real spaces. The concept of spatial gestures has been used to categorize the various uses of spatial motion within a musical composition.
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Coull, Rosalyn. "Portfolio of compositions : emotion, meaning & narrative in electroacoustic music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6026/.
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This thesis comprises a portfolio of acousmatic compositions which explore the evocation of emotion and the expression of meaning in electroacoustic music. These works, created and developed in the Electroacoustic Music Studios of the University of Birmingham, embrace both stereo and multichannel formats. In the accompanying Commentary, I also discuss compositional procedures and provide some analytical notes on each work, along with an outline of my own personal development as an electroacoustic composer during the period of the PhD programme.
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Kuoppala, Visa Tapani. "Composition in no-mind's land : a portfolio of electroacoustic music." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7747/.
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This PhD thesis comprises a portfolio of electroacoustic music and a written commentary. The portfolio consists of ten acousmatic compositions, two of which are collaborative works, and one video recording of a live electroacoustic improvisation. The commentary discusses the creative processes behind the works and their most pertinent aesthetic concerns. The usage of varying bottom-up and top-down methodologies in the different pieces is investigated, with a workflow termed ‘improvisatory composition’ being the most prevalent. Pursuing a mind-set of unselfconsciousness and mindfulness is fundamental to all of them, and this is illuminated with the concept of no-mind and Zen koans. Aesthetically, evocation of enigmatic, elusive, indefinite and nonconceptualisable moods and emotions is central to the works. This is termed ‘incorporeal evocation’; it is paired with the concept of ‘corporeal evocation’, which relates to the notion of ‘permeability’. The repercussions of different degrees of selfconsciousness in self-expression is also examined, as well as the concept of ‘betweenness’ and the idea of ‘enigmaticism’ in music. Finally, Iain McGilchrist’s recent theory on the hemispheric differences of the human brain is introduced to give another layer of meaning to these viewpoints, and the importance of the nonconceptual nature of music is argued for.
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Alvarez, Javier. "Compositional strategies in music for solo instruments and electroacoustic sounds." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.297125.
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Shiota, Kazuaki. "The Signals From the Starlight." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522.
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Lorway, Norah. "A portfolio of fixed electroacoustic and live laptop works." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5183/.
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This PhD thesis includes a portfolio of electroacoustic and live electroacoustic compositions carried out at the electroacoustic music studios at the University of Birmingham. The portfolio consists of fixed multichannel and stereo works as well as a piece for solo live laptop performance written using max/msp and the supercollider programming language. I will also discuss my work with laptop performance and its influence on my compositional output during this Ph.D.
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Pearson, Mark. "Synthesis of organic sounds for electroacoustic music : cellular models and the TAO computer music program." Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/10899/.
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Josefsson, Fredrik Mathias. "On Music and Spatiality : Spatialization as a vehicle towards a chimærical space." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3085.
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According to Kierkegaard it is through our sense of hearing that we can make this journey within, “Gradually, then, hearing became my most cherished sense, for just as the voice is the disclosure of inwardness incommensurable with the exterior, so the ear is the instrument that apprehends this inwardness, hearing the sense by which it is appropriated.”[1] The music is an invitation to all participants to become wanderers. An invitation to step into the music and by doing that, stepping into one’s own imagination on a journey within. This is a double movement similar to what French philosopher Roland Barthes (1915–1980) described: a movement which bears forward and at the same time back to somewhere in oneself.[2] On another note, the Italian writer Italo Calvino (1923–1985) wrote, that “imagination is a world of potentialities that no single work will successfully enact.”[3] Experiences have the potentiality to cause profound changes within a person. In his book The Poetics of Space[4] the French philosopher Gaston Bachelard (1884–1962) wrote that to imagine wandering in the desert is to change space, and as a consequence to change oneself; in his words, “for we do not change place. We change our nature.”[5] [1] Kierkegaard, Søren, Either/Or: a fragment of life, Penguin, London, 1992, p. 3. [2] Barthes, Roland, Camera Lucida: reflections on photography, New edition, Vintage, London, 2000 [1980], p. 40. [3] Calvino, Italo & Brock, Geoffrey, Six memos for the next millennium, Penguin Classics, London, 2016, p. 119. [4] Bachelard, Gaston, The Poetics of Space, New edition., Penguin Classics, London, 2014[1994] [5] Ibid., p. 222.
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Adkins, Mathew. "The art of assemblage." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389371.
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