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Title: Analysis and the composition of electro-acoustic music
Author: Emmerson, S. T.
Awarding Body: City University
Current Institution: City, University of London
Date of Award: 1982
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Since its inception in 1948, electro-acoustic music has challenged many of the ideas of music notation and performance practice, and has raised fundamental questions concerning the stages of the musical process from creation to reception. Chapter 1 examines this 'chain' and argues for a four-stage conception - being a criticism and extension of the tripartite scheme of Molino: 'poeisis' - the creative process creating the 'realisation score', which in turn is the necessary and sufficient condition,for the !signal', finally producing 'aesthesis' in the listener. The idea of historical 'paradigm' (after Kuhn) is examined and the central argument of the thesis propounded, namely the work of art as 'hypothesis under test' in the same way as the 'puzzle solving' of Kuhn's 'normal science'. Possibilities for a new musical 'meta-paradigm'are examined. Chapter 2 takes the characterisation of model theory of Mellor and applies it to post war music in which composers have consciously used 'non-musical' models in poiesis for e.ither structure or material. This clarifies the points at which the composer retains control of the parameter choices. Chapter 3 examines the articulation of 'mass' sounds in contemporary and electra-acoustic music. Chapter 4 looks at the possible 'mimesis' inherent in much electro-acoustic music on tape; having defined 'abstract' and 'abstracted' syntaxes of music, a 'grid' of interaction of these with the mimetic possibilities is established. Chapter 5 is a critique of the 'convergence' theory between the Paris and Cologne philosophies, which are found to be as fundamentally different as ever in terms developed in chapter 4. Finally, chapter 6 presents works by the author (abstracts and analyses - tapes and scores constitute Volume 2) illustrating various uses of 'model' in the composition of live electro-acoustic music. Appendices cover topics on the music of Stockhausen, and two technical investigations.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available
Keywords: Literature