DOCSLIB.ORG

Exploring Compositional Relationships Between Acousmatic Music and Electronica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring Compositional Relationships Between Acousmatic Music and Electronica Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces .................................................................................................................. 29 1.1.3 Cultures ............................................................................................................... 31 CHAPTER 2 ....................................................................................................................... 39 2.0 Materials, Spaces and Cultures .............................................................................. 39 2.1 Materials ................................................................................................................... 40 2.1.0 Micro, Meso and Macro-level structures ............................................................ 40 2.1.1 The Language Grid ............................................................................................. 40 2.1.2 The dividing line ................................................................................................. 47 2.1.3 Gesture and texture ............................................................................................. 53 2.1.4 (Re)injecting energy ............................................................................................ 54 2.1.5 Growth and depletion – compositional structuring ............................................. 56 2.1.6 Dynamic range .................................................................................................... 59 2.1.7 Recorded sound ................................................................................................... 60 2.1.8 Use of beat, pulse and metre ............................................................................... 62 2.2 Spaces ........................................................................................................................ 63 2.2.0 Composed Space ................................................................................................. 64 2.2.1 Performance Space .............................................................................................. 65 2.3 Cultures ..................................................................................................................... 71 2.3.0 Sonic Memes ....................................................................................................... 71 3 2.3.1 Cultural frames .................................................................................................... 73 CHAPTER 3 ....................................................................................................................... 77 3.0 Discussion of compositions ...................................................................................... 77 3.1 Compositions ............................................................................................................ 78 3.1.0 Décalage ............................................................................................................. 79 3.1.1 Solid Phase .......................................................................................................... 81 3.1.2 Low-bypass .......................................................................................................... 83 3.1.3 Batteries Of Orchards ......................................................................................... 86 3.1.4 Papa November ................................................................................................... 90 3.1.5 Volmet North ....................................................................................................... 92 3.1.6 Flinch-Rest .......................................................................................................... 94 3.1.7 Reload ................................................................................................................. 97 3.1.8 Refract ................................................................................................................. 98 3.1.9 Repeat .................................................................................................................. 99 CHAPTER 4 ..................................................................................................................... 102 4.0 Conclusions ............................................................................................................. 102 4.0.1 Summary ........................................................................................................... 102 4.0.2 Discussion ......................................................................................................... 102 4.0.3 Further research ................................................................................................. 106 Bibliography ..................................................................................................................... 107 Discography ...................................................................................................................... 112 Appendix ........................................................................................................................... 114 Programme notes ......................................................................................................... 115 Performances and releases .......................................................................................... 119 Correspondence ............................................................................................................ 123 Tables and Figures ....................................................................................................... 128 4 Abstract This research explores the compositional relationships between acousmatic music and electronica in order to offer a way of unifying the two musical forms. The original contribution to knowledge comes from the creation of a portfolio of compositions that extend the two idioms towards one another, resulting in a series of works that are presented as a journey between and a fusion of electronica and acousmatic music. The dissertation offers a collection of associated theories that underpin the creation of the portfolio. In turn this dissertation addresses three areas that relate to compositional materials, the use of space, with consideration for both compositional and performance space, and a selection of associated cultural considerations that relate to the musics in question. The literature that relates to these three aspects is introduced and discussed with relation to the portfolio. The method behind the composition of the portfolio was not intended to present a collection of fusion works from the outset, but rather to begin composing a selection of purely acousmatic works in order to gain practical compositional understanding of the music. The process was then to grow the portfolio towards the electronica realm, and in parallel map this journey in the dissertation. 5 Acknowledgements I would firstly like to extend my warm gratitude to Prof. Simon Emmerson for his inspirational and unwavering support, enthusiasm and expert supervision throughout the course of this PhD. I would also like to thank: Prof. Leigh Landy (De Montfort University) for his expertise, advice and guidance as second supervisor. Dr Simon Atkinson and Dr Peter Batchelor from the MTIRC (De Montfort University) for their support and interest in my work, and Simon Smith for technical advice and studio support. The Centre for Media, Arts and Technology (C-MAT) at Staffordshire University who funded this research as well as attendance at several international conferences where I showcased my work. Michael Gatt (De Montfort University) for giving me the opportunity to share some of my research with the OREMA project. All staff at the former Sonic Arts department (Middlesex University) who launched me in this direction. The wider community who have selected many of the works in the portfolio for performance and release. Finally I would like to thank my family, friends
Load more

Recommended publications
  • Ut Contemporary Music Festival
    UT CONTEMPORARY MUSIC FESTIVAL UT CONTEMPORARY MUSIC FESTIVAL WEDNESDAY, MARCH 4 MORNING PRESENTATIONS 9 a.m. HMC 244 Aaron Hunt - 9:05 - 9:25 a.m. "Rhythmic Hypnosis: A Theory of Rhythm and Meter in the Music of Tool" Fabio Fabbri - 9:30 - 10:05 a.m. "Techniques and Terminology for the Analysis of Electroacoustic Music and More" Ian Evans Guthrie - 10:10 - 10:30 a.m. “Rhythm as a Function" Robert Strobel - 10:35 a.m. - 11 a.m. "The Dangers of Excessive Conceptuality in Theory and Composition" EMILY KOH AND TRAVIS ALFORD PRESENTATIONS 2 - 4 p.m. HMC 110 CONCERT ONE 6 - 7:30 p.m. Sandra G. Powell Recital Hall The Outside Mark Engebretson Mark Engebretson, alto saxophone postcards Chin Ting Chan Yu-Fang Chen, violin Finding the Right Words Aaron Hunt Vicki Leona, percussion UT CONTEMPORARY MUSIC FESTIVAL Lemoncholy Gabriel Brady Gabriel Brady, piano LIGO Alissa Voth Bethany Padgett, flute Kae So Wae Train Vicki Leona Turner McCabbe and Vicki Leona, percussion Cullen Burke, Aaron Hunt, and Claire Terrell, perspectives (voice) one final gyre Alex Burtzos Allison Adams and Corey Martin, saxophone THURSDAY, MARCH 5 CONCERT TWO 11 a.m. - 12:30 p.m. Sandra G. Powell Recital Hall A Farewell Elegy Ian Evans Guthrie Ian Evans Guthrie, piano Breathe Slow, Breathe Deep Ed Martin Jeri-Mae G. Astolfi, piano Ctrl C Adam Stanovic fixed media Isaac's World Filipe Leitao fixed media Missing Memories John Baxter John Baxter, piano UT CONTEMPORARY MUSIC FESTIVAL London 2012 Hunter Prueger Hunter Prueger , alto saxophone Confab Andrew Hannon Joseph Brown, trombone RITA D'ARCANGELO FLUTE MASTERCLASS 12:40 - 1:55 p.m.
    [Show full text]
  • An Investigation of Nine Acousmatic Compositions
    A PORTFOLIO OF ACOUSMATIC COMPOSITIONS BY DAVID HINDMARCH A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham December 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This portfolio charts my development as a composer during a period of three years. The works it contains are all acousmatic; they investigate sonic material through articulation and gesture, and place emphasis on spatial movement through both stereophony and multi-channel environments. The portfolio is written as a personal journey, with minimal reference to academic thinking, exploring the development of my techniques when composing acousmatic music. At the root of my compositional work is the examination and analysis of recorded sounds; these are extrapolated from musical phrases and gestural movement, which form the basis of my musical language. The nine pieces of the portfolio thus explore, emphasise and develop the distinct properties of the recorded source sounds, deriving from them articulated phrasing and gesture which are developed to give sound objects the ability to move in a stereo or multi-channel space with expressive force and sonic clarity.
    [Show full text]
  • Dancing Under Socialism: Ex-Yu Electronica | Norient.Com 25 Sep 2021 22:47:34
    Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Dancing Under Socialism: Ex- Yu Electronica by Gregor Bulc In the last couple of years, various collections of electronic music from former Yugoslavia popped up, ranging from numerous downloadable CDR mixtapes to official compilation albums. The Croatian film critic and media connoisseur Željko Luketić presents his favorite songs and clips. The trend of officially published compilations of Yugoslav electronic music started arguably in 2010 when Subkulturni Azil from Maribor, Slovenia, released the Ex Yu Electronica Vol I: Hometaping in Self-Management vinyl on its Monofonika label, followed by the Vol II: Industrial Electro Bypasses in the North – In Memoriam Mario Marzidovšek, dedicated solely to Slovenian scene. Here are some of the artist featured on these two vinyls, whose creativity and innovation, as well as sheer volume of music production and distribution effort remain unmatched to this day. Electric Fish – Stvar V (Slovenia 1985) Andrei Grammatik – Poslanica Duholovcima (Macedonia/Serbia 1988) https://norient.com/blog/ex-yu-electronic-music Page 1 of 6 Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Mario Marzidovšek aka Merzdow Shek – Suicide In America (Slovenia 1987) The Ex Yu Electronica Vol III contains the art duo Imitacija Života’s hard-to- come-across videos, followed by a rarefied industrial electro breakbeat cover of Bob Dylan’s classic from Jozo Oko Gospe: Imitacija Života – Instrumentator (Croatia 1989) Video
    [Show full text]
  • Felix Issue 1131, 1999
    issue 1145 University Teachers Approve Strikes The Association of University Teachers voted for other actions less severe than (AUT) has voted to take industrial By Ed Sexton striking. The AUT claims that its mem• action, following a ballot of its mem• bers have not received the pay bers held last month. This will most increases that they are due, with the likely manifest itself as a one day strike General Secretary, David Friesman, later this month, which could affect commenting "vice-chancellors can pay lectures and exams for many students. themselves nearly 7% extra this year, The strike is the result of a failure to but offer their staff only half that reach agreement in the current pay amount, the more we do the less we dispute, which has gone on for several get." months. The debate on whether to go In late March the AUT authorised a ahead with the strike was due to be ballot of its members after rejecting held last Thursday, after Felix went to the 3% pay increase offered by the press. According to the AUT document University and Colleges Employers Asso• "Action for a fair deal" the most likely ciation (UCEA). Determined to pursue date for a 24 hour strike is Tuesday 25 a 10% pay increase, a ballot was May, but the text warns that "the Exec• announced for April, with a possible utive Committee is instructed to con• strike taking place at the end of May. sider calling further strike or strikes in In early April UCEA put forward their the early part of the next academic final offer of 3.5%, which was immedi• year".
    [Show full text]
  • Highland Games. Kilts Galore. Help: Graduating
    THEFriday, October 10, 2014 - Volume 61.5 14049 Scenic Highway,BAGPIPE Lookout Mountain, Georgia, 30750 www.bagpipeonline.com Burning at Help: Graduating and the Stage Highland Games. Kilts Galore. Headed into Law BY KRISITE JAYA BY MARK MAKKAR Burning at the Stage took place Life after Covenant can either be on Thursday (10/3) night. The exciting or foreboding, but hear- Overlook was crowded with music ing from people who are already performances, friends huddling there always helps in lighting the around straw-bales, and marshmal- path that is to come. During the lows roasting atop fire pits. Alumni Law Career Panel, organized by who happened to be in town for the Center for Calling & Career, Homecoming contributed to the students listened to three Covenant festivities, exchanging squeals and alumni who have pursued work in hugs with familiar faces. The event, the field of law since graduating. according to the Senior Class Dr. Richard R. Follet introduced Cabinet member Sam Moreland, the meeting by stating that “Cov- “has taken different forms over the enant has a list of 60 graduates that years, but tends to have the ele- have gone into some kind of law ments of music, the Overlook, fire after graduating from Covenant.” and s’mores, and relaxed fellowship Three of them were able to make as commonalities.” it to the Panel. Josh Reif, John Many have long associated the Huisman, and Pete Johnson shared event with the Homecoming tradi- stories about when they were at tion, but Burning at the Stage is an BYGARRET SISSON Around 150 people attended was featured as the announcer.
    [Show full text]
  • Autechre Confield Mp3, Flac, Wma
    Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
    [Show full text]
  • Physicality of the Analogue by Duncan Robinson BFA(Hons)
    Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player.
    [Show full text]
  • A Method for the Transcription and Analysis of Electroacoustic Music
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Emerging Musical Structures: A method for the transcription and analysis of Electroacoustic Music Mario Mazzoli Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/71 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EMERGING MUSICAL STRUCTURES: A METHOD FOR THE TRANSCRIPTION AND ANALYSIS OF ELECTROACOUSTIC MUSIC. by MARIO MAZZOLI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 MARIO MAZZOLI All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ________________ _________________________ Date Professor Jeff Nichols Chair of Examining Committee ________________ _________________________ Date Professor Norman Carey Executive Officer Distinguished Professor Joseph N. Straus Professor Mark Anson-Cartwright Professor David Olan Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract EMERGING MUSICAL STRUCTURES: A METHOD FOR THE TRANSCRIPTION AND ANALYSIS OF ELECTROACOUSTIC MUSIC. by MARIO MAZZOLI Advisor: Distinguished Professor Joseph N. Straus This dissertation proposes a method for transcribing “electroacoustic” music, and subsequently a number of methods for its analysis, utilizing the transcription as main ground for investigation.
    [Show full text]
  • 2006 TRASH Regionals Round 07 Tossups
    2006 TRASH Regionals Round 07 Tossups 1. It appears twice in the e.e. cummings poem “little ladies more”. It also appears in the Tennessee Williams play A Streetcar Named Desire when Blanche DuBois asks it of Mitch. Seemingly awkward because of its use of the formal pronoun, it means, “Do you want to sleep with me (tonight)?” For ten points, give this phrase re-introduced to a new generation by Mya, Lil’ Kim, Pink, and Christina Aguilera in their 2001 version of “Lady Marmalade”. Answer: Voulez-vous coucher avec moi (ce soir)? 2. In Need for Speed: Most Wanted it’s called “Speed Breaker”, and is most often used to dodge roadblocks. In GUN, it’s called “Quick Draw.” The earliest example of it is probably in the 1980 Epyx game Rescue at Rigel. In Star Wars: Jedi Academy, you can get it using “Force Speed,” by killing Reborn Jedis, or typing the cheat code “there is no spoon.” For ten points, give the common name for the ability in video games to move at normal speed while the rest of the game is slowed down, most famously used in the Max Payne and, predictably, Matrix videogames. Answer: bullet time (Prompt on “slow motion” or equivalents. Note for itinerant cheaters: the cheat code is really “thereisnospoon”) 3. His favorite movie may be Divine Secrets of the Ya-Ya Sisterhood, while he cried a lot when he paid to see Godfather III. His first name may be Marion, but his full name has also been reported to be William Williams.
    [Show full text]
  • CHRIS CUNNINGHAM and the ART VIDEO Summary
    CHRIS CUNNINGHAM AND THE ART VIDEO Summary : 1. The Art Video 2. Chris Cunningham 3. The Clip Video Universe 4. Publicity and short movies 5. Music Producer Warning. Welcome to the strange world of Chris Cunningham. It’s time to make a choice. You can leave now and you’ll never have to see what we are about to show you. Or, you can stay, stuck on your chair and live with us a new risky experience. Open up your eyes and ears, we are starting. The Art Video was born in 1960 with Fluxus. Fluxus isn’t also an artistic movement, it’s a state of mind. We can give to this movement this definition : “art must be life”. Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity, a kind of anti- art. It’s a combination of different arts. Fluxus artists have been active in Neo-Dada noise music and visual art as well as literature, urban planning, architecture, design and video. Then, Art Video take different forms like event, performance art, happening, or an installation which change space. In fact, provocated shows set a disorder. The most important art-video artists are : -Nam Jun Paik -Bill Viola (Name Jun Paik) With new technologies, appeared a new technic witch can change reality: 3D projection on buildings (video extract Projection on buildings) Projection on buildings change our perception in creating illusion. Chris Cunningham is an english music video film director and a video artist. At first, he learned painting and sculpture and then, he gets specialized in creation of silicone’s models and special effects.
    [Show full text]
  • Kanye West's Sonic [Hip Hop] Cosmopolitanism
    ÷ Chapter 7 Kanye West's Sonic [Hip Hop] Cosmopolitanism Regina N. Bradley On September 2, 2005, Kanye West appeared on an NBC benefit telecast for Hurricane Katrina victims. West, emotionally charged and going off script, blurted out, "George Bush doesn't care about black people." Early ill his rapping career and fi'esh off the critically acclaimed sophomore album Late Registration, West thrusts himself into the public eye--debatably either on accident or purposefully--as a ÷ scemingly budding cuhural-political pundit. For the audience, West's ÷ growing popularity and visibility as a rapper automatically translated his concerns into a statement on behalf of all African Americans. West, however, quickly shies away from being labeled a leader, disclaiming his outburst as a personal opinion. In retrospect, West states: "When I made my statement about Katrina, it was a social statement, an emo- tional statement, not a political one" (Scaggs, 2007). Nevertheless, his initial comments about the Bush administration's handling of Katrina positioned him both as a producer of black cultural expres- sion and as a mediator of said blackness. It is from this interstitial space that West continued to operate moving fbrward, using music-- and the occasional outburstÿto identify himself as transcending the expectations placed upon his blackness and masculinity. West utilizes music to tread the line between hip-hop ktentity poli- tics and his own convictions, blurring discourses through which race and gender are presented to a (inter)national audience, it is important to note that hip-hop serves doubly as an intervention of American capitalism and of black agency.
    [Show full text]
  • COLORED VINYL Merchant Record Store, and the Influential Radio Show/Podcast BTS Radio
    UBIQUITY RECORDS PRESENTS SAVE THE MUSIC 12” NO. 3 - BTS EXCLUSIVES FOR INFORMATION AND SOUNDCLIPS OF OUR TITLES, GO TO WWW.UBIQUITYRECORDS.COM/PRESS STREET DATE: 04/16/2011 feature on Gilles Peterson’s “Brownswood Save the Music – is a Electric” comp and a remix for Solar Bears Planet compilation for Record Mu debut in the last 12 months. Jed and Lucia drop a brand new sunny-styled chill wave-goes-Brazil cut Store Day that called “This is Why.”. features exclusive new music from: AM, A1. S.Maharba featuring Jed and Princess Superstar, Lucia - So Much Skin The Incredible Tabla A2. Letherette – Roses Band, S.Maharba, Letherette, B1. Dibiase – Cybertron Dibiase, Jed & Lucia, NOMO, Shawn B2. Jed and Lucia – This is Why Lee, Magnetite, and a re-issued folky funk joint from Pats People. The music from the limited edition compilation CD is LIMITED EDITION spread across 3 limited edition (500 of each only!), hand-numbered, 12” singles. HAND NUMBERED The track list for each of the 12”s was put together with the help of our musical friends Shawn Lee, The Groove COLORED VINYL Merchant record store, and the influential radio show/podcast BTS Radio. 500 COPIES ONLY Since 2003 Andrew Meza’s BTS radio has presented 12 - CATALOG UBR11289-1 some of the most original and progressive music podcasts LIST PRICE: $10.97 and is credited with spearheading the worldwide beat 12 BOX LOT: 50 movement, and introducing acts like Flying Lotus and VINYL IS NON-RETURNABLE Hudson Mohawke. BTS-partner Charles Munka designed FOR FANS OF: the album and 12” art for Save the Music.
    [Show full text]