This commentary consists of an attempt to discuss the problems raised by the way I approach composition and sound in general. My argument is based on the definition I give of the key concepts of space, sound image and evocation, mainly through the means of an aesthetic reflection that tries to stay faithful to the basic rules of phenomenological method. In this context, space is not meant in its locative sense, rather it is defined as the process of exploration of the sound image that characterizes the act of listening. The sound image is thence discussed in its spatial aspects. It is described as an object defined by a frame (both conceptual and empirical) and an inside, which is explored by the listener. It is this exploration that allows the listener to reach a moment of resonance with the sound image itself, moment that I defined as evocation. The consideration of the sound image in a spatial sense allows me to introduce the idea of meta-space, a term that aims at describing the way in which the sound images enter into a mutual relationship in the context of a musical composition.

This Portfolio is formed of 9 compositions that have been selected in order to reflect the variety of the music I write. It is a journey through my personal approach to sound and writing music using one voice but several compositional techniques. It includes one stereo and four 8-channel acousmatic compositions; they constitute the core of my thesis. Two works are written for both live instruments and electroacoustic medium, focussing on the performance aspect. One stereo acousmatic piece has been written for a choreographer; it is the fruit of a very productive collaboration. The final piece of this portfolio has been commissioned by the Barber Institute of Fine Art; it is an 8- channel acousmatic composition based on a Magritte’s painting, to be played in an installation context with the painting.

This PhD thesis comprises a portfolio of electroacoustic music and a written commentary. The portfolio consists of ten acousmatic compositions, two of which are collaborative works, and one video recording of a live electroacoustic improvisation. The commentary discusses the creative processes behind the works and their most pertinent aesthetic concerns. The usage of varying bottom-up and top-down methodologies in the different pieces is investigated, with a workflow termed ‘improvisatory composition’ being the most prevalent. Pursuing a mind-set of unselfconsciousness and mindfulness is fundamental to all of them, and this is illuminated with the concept of no-mind and Zen koans. Aesthetically, evocation of enigmatic, elusive, indefinite and nonconceptualisable moods and emotions is central to the works. This is termed ‘incorporeal evocation’; it is paired with the concept of ‘corporeal evocation’, which relates to the notion of ‘permeability’. The repercussions of different degrees of selfconsciousness in self-expression is also examined, as well as the concept of ‘betweenness’ and the idea of ‘enigmaticism’ in music. Finally, Iain McGilchrist’s recent theory on the hemispheric differences of the human brain is introduced to give another layer of meaning to these viewpoints, and the importance of the nonconceptual nature of music is argued for.

This thesis describes a portfolio of musical compositions and artworks that explore the development of real-time acousmatic music composition, multimedia music and dance performances, interactive sound and video installations, and collaboration between interdisciplinary artists. Two works, Cell and Gong, are analyzed for their role in the development of Max/MSP software and improvisation performance techniques to create live acousmatic music. Musical material created with these methods was used in studio compositions and live performances. Improvised multimedia (Live Cinema) performances were also explored with the development of Max/Jitter software for that purpose. The creative process of interdisciplinary collaboration between a composer and dancers in performances that use multimedia elements, live acousmatic music performance, and computer vision interfaces for motion tracking is detailed with the explanation of three dance performances: Phases, Knowledge Box, and Tu:la. Two computer interactive sound and video installations that explore audience interaction are documented. Polyphonic Passport Photo is a photo booth-like installation that transforms the RGB (Red, Green and Blue) values of a photograph into a melody. The Bather is an interactive installation that allows the audience to trigger bathing sounds and the choreographed bath movements of an individual in a bathtub, using a touch sensor as an interface.

This thesis includes a portfolio of electroacoustic and live electronic compositions consisting of multichannel fixed media works and pieces that include instruments, real time computer processing and electronic interfaces. It also details research into stochastic synthesis and its application in music composition. Work carried out in real-time processing of multichannel signals including convolution, spatialisation, as well as decorrelation from one to many channels, sample accurate looping and various sample accurate control systems, is also included in this thesis. Pieces: In a Cage Spinning Plates Poly |Kroðn| BlckWnd River Fields Immortal Lithium.

This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the presented compositions are to be found on the attached DVD, along with a range of programs coded to support composition is briefly discussed in the Appendix. All the expressed views are personal convictions; my music serves no other purpose than to reflect onto one observing it. The attached software is free to use and distribute provided it is appropriately referenced.

No description available.

Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poems. The thesis returns four of the symphonic poems (Tasso, Orpheus, Festklänge, and Hamlet) to their original dramatic performance contexts. In doing so, it reveals that the Weimar productions or festivals in which they were premiered had a significant impact on their conception and development in numerous, diverse, and sometimes surprising ways. Accordingly, the findings shed new light on the influence of staged genres, particularly melodrama, on the development of the symphonic poem as a genre. Then the thesis explores the revision of these works in order to trace Liszt’s changing conception of what a symphonic poem might be.

A portfolio of electroacoustic and acousmatic compositions realised through a variety of audio and audio-visual media, and with a particular emphasis on using speech as compositional material. The use of speech in compositions raises questions of political intent and responsibility, and these are addressed. The challenges of composing electroacoustic works for theatre, film and for a site specific installation are also discussed. The use of electroacoustic principles in the production of rock music is examined with reference to my own works in this genre. List of files: PDF: Commentary MP3: A Sharp Intake of Breath (2000, 6’15”) MP3: Fragments of Democracy (1999-2000, 16’55”) MP3: de(re)construction (2000, 13’21”) MP3: Aqualogica (2000, 11’13”) MP3: Guitar = God (2009, 12’16”) MP3: The Lonely Bridge Song (2001) Junkie (2’12”) MP3: The Lonely Bridge Song (2001) Begging (4’16”) MP3: The Lonely Bridge Song (2001) Background ambience (extract) (1’39”) MP3: That Dangerous Sparkle (2007) The Valentines (5’04”) MP3: That Dangerous Sparkle (2007) Let There Be A Place (4’53”) MP3: That Dangerous Sparkle (2007) When You’re Lying (3’49”)

This thesis consists of a portfolio of compositions in acoustic and electronic media with an accompanying commentary. The central theme of these works is the development of new strategies for the integration of diverse sound sources, styles and performance aesthetics. Key topics include the fusing of dramatic structures from classical and popular music, the blending of acoustic and electronic instruments, performance strategies for electroacoustic music with live musicians, how concert music can engage with the idea of “the mix” from commercial music, the creation of sound worlds that interpolate between conventional ‘musical’ ingredients and environmental sound.