Now showing items 1-10 of 25
The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
(Observatoire Musical Français, 2005)
The opportunity to incorporate real-world sounds into musical works has led to new listening strategies in terms of the musical experience. Given the acute separation between contemporary art music in general and society, ...
Exploring our relationships with sound-based music
(Electroacoustic Music Studies Network, 2008)
In this paper, that is at various times provocative and speculative (for which I beg your indulgence), I outline the initial exploratory stages of a research exercise that looks towards exploring a particular corpus of ...
Mapping perception across the communicative continuum as a prelude to analysis
(Electroacoustic Music Studies Network, 2007)
In this paper the author discusses some of the key issues concerning the role of analysis in electroacoustic (E/A) music. This is followed by an explanation of the role that the Intention/Reception (I/R) method can play ...
Re-composing Sounds ... and Other Things
(Cambridge University Press, 2019-08-01)
In this article, based on four decades of experience of using samples in diverse ways in experimental, particularly electroacoustic compositions, the author investigates the world of what he calls ‘sample-based sound-based ...
Discovering How Accessible Electroacoustic Music Can Be: The Intention/Reception Project
(Cambridge University press, 2006)
The Intention/Reception (I/R) project concerns an investigation of the relationship between composer intention and listener response in electroacoustic (E/A) compositions. Phase one of the project focuses on E/A compositions ...
(Self published composition, 2014-07-01)
Composition for 4, 8 or 12 performers for voice + live electronics (prose score)
Wprowadyanie młodzieży w świat organizowania dzwiękow: EARS 2 i Compose with Sounds
(Fundacja 4.99, 2015-11)
This Polish article, largely drawn on an "Organised Sound" article from 2013 introduces the EARS 2 Pedagogical Project and Compose with Sounds software from all angles. It focuses on an international initiative introducing ...
Spectral Domains deals with the kinds of ambiguities between timbre and harmony that can be made possible through interaction between electroacoustically transformed sonorities and instrumental ones. Piano, violin and ...
Oral History as Form
This paper examines the use of oral history sound recording as a core element in electroacoustic music. Two main examples are used, both works by this author: ‘An Angel at Mons’, a 16-channel acousmatic work, and ‘Red ...
Forming Form: The bigger picture of electroacoustic music.
(Cambridge University Press, 2016)
Electroacoustic music’s foundation in the electronic mediation of sound—recorded, ‘live’ processed or historical—has opened up the possibility of bringing together sounds of more diverse provenance than ever before for the ...