Global ETD Search

1	Composing with the tape recorder : A case study of My Life in the Bush of Ghosts by Brian Eno & David Byrne Åström, Johanna January 2020 (has links) This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement. tape recorder music production composing sampling Brian Eno David Byrne My Life in the Bush of Ghosts Media Engineering Mediateknik
2	Gränsland : En studie av utommusikaliska referensers roll i det elektroakustiska komponerandet Sandström, Viktor January 2022 (has links) I den här texten diskuteras förmågan hos elektroakustisk musik att uttrycka sig genom associationer, och frågar ifall musik någonsin kan vara utan en sådan associativ effekt. Detta görs genom luppen av mitt eget arbete, där jag har hämtat inspiration ur mellantillstånd och mellanplatser, liminal spaces, samt genom mitt försök att utarbeta en metod för att arbeta med utommusikaliska referenser som kan informera musikaliska, konstnärliga beslut. Den konstnärliga delen av examensarbetet utgörs av: DEC (2021), K87-89 (2021), Koltrast (2021), samt installationen: Metamorfos (2022). / <p>Alla de bilagor som har "(supercollider-kod)" i sig ska egentligen vara i Supercollider-format ".scd" istället för ".txt". I nuläget är det tyvärr inte möjligt att ladda upp filer i .scd-format till DiVA.</p> Elektroakustisk musik Liminal Space Estetik Joanna Demers Brian Eno Mark Fisher Trevor Wishart Pierre Schaeffer Absolut musik Programmusik The Eerie Gear Acquisition Syndrome Ljudlandskap Association Supercollider Akusmatisk Music Musik
3	Ambient musik : En undersökning om spatial musik som klingande arkitektur / Ambient Music : Investigating spatial music as sounding architecture Milveden, Jens January 2022 (has links) ”Ambient Music”, established and described by its ”creator” Brian Eno, has become a term with a wide range of uses - as generative music, in sound- and audiovisual art installation, a mediated ”sound” of a genre through albums and artists to plug in to during your daily walk - as well as any imaginable association with the term connected to public, spatial or virtual ambience. Through the liner notes of the genres original albums (Ambient 1: Music For Airports of 1978, and to some extent Discreet Music of 1975) it is clear though that the original idea is more related to listening to your own spatial awareness as a form of music rather than a following of certain sounds and conventions that the term has been associated with. At the time as a sonic alternative to conventional background music of public spaces. The author suggests that these ideas never would have surfaced if it wasn’t for the earlier ideas of Erik Satie and John Cage, whose sonic frameworks and instructions beyond the traditional music sheet were vital for Eno to create generative canvases of sounding art for the spaces. The paper then focuses on consolidating the term ”Ambient Music” with its frameworks in art and function by deconstructing it between spatial, architectonic usage and as a mediated genre of a ”sound”, via virtual generative music - and back again, via its original description of enhancing environments ”acoustic and atmospheric idiosyncracies”. With Eno’s original thesis in mind the paper continues to explore where ”Ambient Music” (through arguably its sub-genre, ”Spatial Music”) is today, as well as looking at the potential futures for the genres’ artistic functions as an established and accepted sonic element of physical architecture and public spaces. This exemplified by building a bridge between ”Ambient Music” and the modern ”non-ambient” sonic scenographer, ”Spatial Music”-artist Mareike Dobewall, for further discussions on sound art as sounding architecture - a potential future for the Ambient label. Sonic Spatial Ambient Architecture John Cage Brian Eno Dobewall Erik Satie Music Soundscape Generative Music For Airports Furniture Music Indeterminacy Ambience Space Acoustics Sound Installation Audiovisual Atmosphere Landscape Muzak Background Music Musica Mundana Voicelanding Phenomenology Spatial Ambient Arkitektur Musik John Cage Brian Eno Dobewall Erik Satie Musica Mundana Voicelanding Ljudlandskap Generativ Möblemangsmusik Indeterminism Ambiens Rumslighet Akustik Installation Ljudinstallation Audiovisuell Atmosfär Landskap Muzak Bakgrundsmusik Fenomenologi Musicology Musikvetenskap
4	A porous field: immersive inter-media installation and blurring the boundaries of perception Verban, Alison Jane January 2007 (has links) Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles. creative practice, practice-led research

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