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Portfolio of Original Compositions

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Portfolio of Original Compositions PORTFOLIO OF ORIGINAL COMPOSITIONS A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 GUILLAUME DUJAT DES ALLIMES School of Arts, Languages and Cultures Table of Contents List of Figures ...................................................................................................................................... 5 List of Tables ....................................................................................................................................... 6 Abstract ............................................................................................................................................... 7 Declaration .......................................................................................................................................... 8 Copyright statement ............................................................................................................................ 8 Portfolio of musical works ................................................................................................................... 9 Musical appendix ................................................................................................................................ 9 Folder content ................................................................................................................................... 10 File layout ..................................................................................................................................... 10 Acknowledgements ........................................................................................................................... 12 About the author ................................................................................................................................ 13 1. Introduction ................................................................................................................................... 14 1.1 Portfolio contents ................................................................................................................... 14 1.2 Research inquiry .................................................................................................................... 14 1.3 Context ................................................................................................................................... 15 1.4 Space and Place .................................................................................................................... 16 1.5 Chapter outline ....................................................................................................................... 17 2. Gōngàn (2017, 10:56) [8 channel] ................................................................................................ 18 2.1 Wat Khao Noi ......................................................................................................................... 19 2.2 Salies de Béarn orchard (Pyr-at France) ............................................................................... 20 2.3 Tram line (Manchester, UK) ................................................................................................... 21 2.4 Computerspiele Museum (Berlin, Germany) ......................................................................... 21 3. Après moi la pluie (2017, 9:33) [1st order ambisonics] .................................................................. 23 3.1 Section A ................................................................................................................................ 26 3.2 Section B ................................................................................................................................ 26 3.3 Section C ................................................................................................................................ 27 3.4 Hordijk modular system (control) ........................................................................................... 27 3.5 Spatial distortion .................................................................................................................... 28 4. Noisy Library (2018, 01:00:26) [7.1 channel] ................................................................................ 30 4.1 Loudspeaker arrangement ..................................................................................................... 32 4.2 Recordings ............................................................................................................................. 33 4.3 Room acoustics simulation. ................................................................................................... 34 4.4 Structure ................................................................................................................................. 35 4.5 Composition ........................................................................................................................... 36 5. Divine Cut (2018, 11:19) [6 channel / binaural] ........................................................................... 39 5.1 Performance........................................................................................................................... 41 5.3 Illusion of liveness and the audio-visual contract. ................................................................. 43 6. Tune of Crackle (2019, 20:58) [3rd order ambisonics]................................................................... 44 6.2 Locations and recording ......................................................................................................... 45 6.2.1 Southbank Undercroft [ca. 6:44 – 14:20] ....................................................................... 46 6.2.2 GrayStone Action Sports [ca. 0:00 – 6:44] .................................................................... 47 2 6.2.3 Street [ca. 11:16 – 20:44] .............................................................................................. 49 6.3 Compositional approaches .................................................................................................... 50 6.4 Mediated perspectives ........................................................................................................... 51 7. Resonating Spaces (2019) [multiformat] ....................................................................................... 53 7.1 Bottle Kiln (1:00:00) [5.1 channel] ......................................................................................... 54 7.2 Clay rehydration ..................................................................................................................... 55 7.3 Presentation ........................................................................................................................... 57 7.4 Green State: Rehydrate (11:06) [5.1 channel] ....................................................................... 58 7.5 Sound sources ....................................................................................................................... 58 7.6 Structure ................................................................................................................................. 59 8. Conclusion .................................................................................................................................... 61 8.1 Methodologies ........................................................................................................................ 61 8.2 Abstraction ............................................................................................................................. 61 8.3 Reduction ............................................................................................................................... 61 8.4 Microphone colouration .......................................................................................................... 62 8.5 Speaker colouration ............................................................................................................... 62 8.6 Presentation mode ................................................................................................................. 63 8.7 Space and Place .................................................................................................................... 63 8.8 Composition-bound ................................................................................................................ 65 8.9 Continuation & future works ................................................................................................... 65 9 Bibliography (APA 7th edition GB) .................................................................................................. 66 10 Appendices .................................................................................................................................. 71 10.1 Multimodal relevance ........................................................................................................... 71 10.2 Gōngàn spatialization techniques. ....................................................................................... 72 10.2.1 Gōngàn section A ........................................................................................................ 73 10.2.2 Gōngàn section B ........................................................................................................ 76 10.2.3 Gōngàn section
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