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dc.contributor.authorVear, Craigen
dc.date.accessioned2016-11-03T10:02:28Z
dc.date.available2016-11-03T10:02:28Z
dc.date.issued2016-04-11
dc.identifier.citationVear, C. (2016) Gesamtkomposition and the digital opera: A Sentimental Journey. International Journal of Performance Arts and Digital Media, 12 (1), pp. 61-81en
dc.identifier.urihttp://hdl.handle.net/2086/12757
dc.descriptionThis article discusses the concept of Gesamtkomposition as a means with which to consider the mutual affection of sensorial media and its operational significance at the point of composition. It analyses and reflects upon the nature of such a concept, and evaluates its application through a major practice-based research project. This central work – A Sentimental Journey [Vear, C. 2010–2011. Composition] – was created for a mixed ensemble of technologies, live musicians, autonomous laptops embedded with generative algorithms accessing fixed media libraries, and was performed to remote audiences located across the planet. The composer, as author of this article, analyses the intermedial relationships within this digital opera, using Elleström’s [2010. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality and Intermediality, edited by L. Elleström. Basingstoke: Palgrave Macmillan] model of multimodality in order to articulate the complexity within the mutual affection of this polymedia composition and as a way of defining Gesamtkomposition. The final section presents an overview of select phenomenologies that contribute to a deeper understanding of the experience of Gesamtkomposition. The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.en
dc.description.abstractThis article discusses the concept of Gesamtkomposition as a means with which to consider the mutual affection of sensorial media and its operational significance at the point of composition. It analyses and reflects upon the nature of such a concept, and evaluates its application through a major practice-based research project. This central work – A Sentimental Journey [Vear, C. 2010–2011. Composition] – was created for a mixed ensemble of technologies, live musicians, autonomous laptops embedded with generative algorithms accessing fixed media libraries, and was performed to remote audiences located across the planet. The composer, as author of this article, analyses the intermedial relationships within this digital opera, using Elleström’s [2010. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality and Intermediality, edited by L. Elleström. Basingstoke: Palgrave Macmillan] model of multimodality in order to articulate the complexity within the mutual affection of this polymedia composition and as a way of defining Gesamtkomposition. The final section presents an overview of select phenomenologies that contribute to a deeper understanding of the experience of Gesamtkomposition.en
dc.language.isoenen
dc.publisherRoutledgeen
dc.subjectDigital operaen
dc.subjectmedia theoryen
dc.subjectintermedialityen
dc.subjectmusicen
dc.subjectcreative computingen
dc.subjectphenomenologyen
dc.titleGesamtkomposition and the digital opera: A Sentimental Journeyen
dc.typeArticleen
dc.identifier.doihttps://doi.org/10.1080/14794713.2015.1121711
dc.researchgroupMusic, Technology and Innovation Research Centreen
dc.peerreviewedYesen
dc.explorer.multimediaNoen
dc.funderN/Aen
dc.projectidN/Aen
dc.cclicenceCC-BY-NCen
dc.date.acceptance2016-04-11en
dc.exception.reasonThis article was previously submitted onto DORA in April 2016. I am resubmitting it now as it seems not to be logged on my profile.en
dc.researchinstituteMusic, Technology and Innovation - Institute for Sonic Creativity (MTI2)en
dc.exception.ref2021codes254ben


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