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This analysis examines Jonathan Harvey’s seminal electroacoustic work, Advaya, for cello, electronic keyboard, and electronics. The paper is divided into three sections: a survey of Harvey’s writing for cello; a harmonic analysis; and a performance-based analysis. In the first section, I discuss his unique style of cello writing and certain techniques he uses to expand the available palate of colors that can be obtained from the instrument. For the second section I examine the various ways in which Harvey builds musical constructs based on the spectrum of the cello’s A string (220 Hz), and the overarching harmonic structures of the work. In the final section, I discuss issues that arise from the point of view of a musician preparing the piece for performance along with a pedagogical discussion of the extended techniques used, accompanied by companion videos. This paper is intended for cellists, musicians, and non-musicians alike as a springboard for further investigation into the incredible and underrated music of Jonathan Harvey.

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The way in which one perceives a temporal sense of time while listening to or interacting with music is heavily influenced by the way the composer presents their musical or visual materials. This dissertation discusses concepts and technical approaches regarding timelessness in relation to my piece, In einem Augienblick, and the ways in which I explore a displaced approach to interactivity between audio, video, and performance for clarinet and live interactive electronics and video. By referencing the writings of Johnathan Kramer and using models of references from other composers, most notably György Kurtág, this document contemplates and synthesizes a variety of different methodologies and their practical applications to discuss the approach of timelessness, temporal change, and shifts in musical time taken in In einem Augienblick. In my piece, multiple elements of visual and sonic material are utilized in conjunction with each other to create this stagnant but shifting musical world, which will be discussed by presenting examples from the score, video, and electronics to show how each of these elements work together to create moments of timelessness in the piece.

This research explores the compositional relationships between acousmatic music and electronica in order to offer a way of unifying the two musical forms. The original contribution to knowledge comes from the creation of a portfolio of compositions that extend the two idioms towards one another, resulting in a series of works that are presented as a journey between and a fusion of electronica and acousmatic music. The dissertation offers a collection of associated theories that underpin the creation of the portfolio. In turn this dissertation addresses three areas that relate to compositional materials, the use of space, with consideration for both compositional and performance space, and a selection of associated cultural considerations that relate to the musics in question. The literature that relates to these three aspects is introduced and discussed with relation to the portfolio. The method behind the composition of the portfolio was not intended to present a collection of fusion works from the outset, but rather to begin composing a selection of purely acousmatic works in order to gain practical compositional understanding of the music. The process was then to grow the portfolio towards the electronica realm, and in parallel map this journey in the dissertation.

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The focus of the compositional approach presented in this folio is the sounding environment. The term sounding environment is used in this context to refer to the whole of our living experience in the world which we might register as relating to sound. It might include everything that is sounding, seemingly sounding, imagined sounding, remembered sounding, sensed as sounding, composed to sound. It includes thus the actual sound environment, all that is sensed or interpreted as sound and imaginary sounds. This dissertation accompanies the seven acousmatic and the two sound installation works included in the folio. It is divided into two parts. In the first part relevant ideas and theories both from the literature of electroacoustic music composition and soundscape composition are discussed while in the second the compositional approach to the sounding environment is presented as applied to the works.

Este trabalho tem como finalidade usar a técnica do pulso eletroacústico (PEA) para investigar a formação de carga espacial em materiais poliméricos utilizados na isolação elétrica, tais como, polietileno de alta densidade e o XLPE e a também investigar a resposta ferroelétrica do PZT durante o processo de polarização. O método de pulso eletroacústico é baseado na propagação do sinal acústico gerado pela aplicação de um pulso de tensão elétrico de 5ns de largura. Apresentamos todas as etapas da montagem do sistema PEA, a análise do sistema elétrico e o tratamento matemático dos sinais de forma obter urna melhor resposta do sistema. Iniciamos o trabalho utilizando duas amostras de PET polarizadas previamente no triodo corona. O par de amostras carregado com a mesma polaridade foi unido pelas faces carregadas eletricamente e foi determinada a origem do sinal obtido na interface inferior amostra-eletrodo. Confrontamos os resultados experimentais obtidos no PEA (com a amostra em curto-circuito) com a análise teórica o qual nos forneceu subsídios para determinar o sinal da carga que aparece nas faces da amostra e de onde o sinal era proveniente na interface. Empregamos a mesma idéia aplicada ao PET para determinar a origem do sinal na interface PZT-eletrodo, concluímos que a origem do sinal era proveniente do material de maior impedância acústica. Investigamos com a técnica do pulso eletroacústico, originalmente desenvolvido para polímeros, o chaveamento ferroelétrico de cerâmicas ferroelétricas. Abordamos o comportamento do decaimento da polarização ferroelétrica após a remoção do campo elétrico de saturação, determinamos a curva de histerese e o perfil do campo elétrico dentro da amostra quando se aplica rampa de tensão com taxa muito baixa e admitimos que o processo era quase-estacionário. Nos polímeros utilizados na isolação elétrica investigamos a formação da carga espacial no PE e nos materiais relacionados sob alto campo elétrico e em função do tempo de polarização. / The purpose this work was using to PEA method for investigation of the ferroelectrics response in PZT and space charge formation in polymeric materials (PE, XLPE) used as electrical insulation for high voltage devices. The PEA method is based on propagation acoustic signal generated by the application of a short electric field pulse, typically 5 ns in duration. Show all the steps of the experimental set-up PEA system, analysis of the electrical system and the mathematical treatment of the signals. Start up the work with double layer PET samples previously poled in corona triode with aim of determination of the origin of the signal obtained to in the sample-lower electrode interface and the experimental results obtained to PEA satisfactorily explain the theory. Make up his mind to apply a same idea to PZT, but only one sample it was poling. From that measurements with PET and PZT, is found that the signal come from of material biggest acoustic impedance. With the PEA method, in the first place development for polymers, it was investigated the ferroelectrics ceramics: ferroelectric switching, decaying of ferroelectric polarization after removal saturation electrical field, hysteresis loop measurements and the determination of coercive field. To obtain the electrical field profile through the thickness of the ferroelectrics ceramics it was applied ramp voltage method in process steady-state (low rate). The space charge formation in polymers under high electric field and in time function was investigated.

According to Kierkegaard it is through our sense of hearing that we can make this journey within, “Gradually, then, hearing became my most cherished sense, for just as the voice is the disclosure of inwardness incommensurable with the exterior, so the ear is the instrument that apprehends this inwardness, hearing the sense by which it is appropriated.”[1] The music is an invitation to all participants to become wanderers. An invitation to step into the music and by doing that, stepping into one’s own imagination on a journey within. This is a double movement similar to what French philosopher Roland Barthes (1915–1980) described: a movement which bears forward and at the same time back to somewhere in oneself.[2] On another note, the Italian writer Italo Calvino (1923–1985) wrote, that “imagination is a world of potentialities that no single work will successfully enact.”[3] Experiences have the potentiality to cause profound changes within a person. In his book The Poetics of Space[4] the French philosopher Gaston Bachelard (1884–1962) wrote that to imagine wandering in the desert is to change space, and as a consequence to change oneself; in his words, “for we do not change place. We change our nature.”[5]   [1] Kierkegaard, Søren, Either/Or: a fragment of life, Penguin, London, 1992, p. 3. [2] Barthes, Roland, Camera Lucida: reflections on photography, New edition, Vintage, London, 2000 [1980], p. 40. [3] Calvino, Italo & Brock, Geoffrey, Six memos for the next millennium, Penguin Classics, London, 2016,  p. 119. [4] Bachelard, Gaston, The Poetics of Space, New edition., Penguin Classics, London, 2014[1994] [5] Ibid., p. 222.