Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675947
Title: Composition as interpretation through performative electronics
Author: Alessandrini, Patricia
ISNI:       0000 0004 5372 1792
Awarding Body: Queen's University Belfast
Current Institution: Queen's University Belfast
Date of Award: 2014
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Abstract:
The Introduction presents the notion. of composition as an act of interpretation: all of the works of the portfolio are based on existing repertoire, which is thus seen to be 'interpreted' through Computer-Assisted Composition (CAC) processes, entailing the combination, modification, analysis and transcription of recorded materials of the 'interpreted' work. Chapter 1 documents the use of real-time physical modelling synthesis in the Max/MSP programming environment. In Funeral Sentences for ensemble and electronics, a 'string meta-instrument' is created through the combination of violin, cello, guitar, percussion - the latter two often bowed to better blend with the others - and physically-modelled strings, menus morceaux par un autre moi reunis for guitar and electronics combines real-time physically-modelled strings with physically-inspired stochastic models (PhiSM) of percussion instruments. In the electroacoustic series Nani, the noise content - such as breaths and consonants - of an a cappella recording is used to excite percussion models. All of the works documented in Chapter 2 engage with visual manifestations of sound in addition to instruments and speakers, including transducing sound through objects and interactive video projection: in Adagio sans quatuor (2010), suspended plates are bent by motors to tune their resonant frequencies, while three-dimensional (3D) physical modelling simulates bending motion for one of the two instruments; Adagio pour l'absence (2010) maps data from a game environment to interactive networked performance including real-time score generation and 3D physical modelling synthesis; Mismoded (2011) features real-time concatenation of audio and video; and Gurre-K/(inge (2012) combines video projected on resonating metal plates and other surfaces with interactive performance involving improvisatory feedback systems. The Conclusion considers the compositions in the portfolio in terms of the provenance of sound in relation to visual and aural perception, and introduces future projects which continue in the direction of reinforcing visual correlates and the physical presence of sound.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.675947  DOI: Not available
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