Electroacoustic music is often regarded as not being sufficiently accessible to the general public because of its sound-based abstract quality and the complexity of its language. Live electronic music introduces the figure of the performer as a gestural bodily agent that re-enables our multimodal perception of sound and seems to alleviate the accessibility dilemma. However, live electronic music generally lacks the level of detail found in studio-based fixed media works, and it can hardly be transferred outside the concert hall situation (e.g. as a video recording) without losing most of its fresh, dynamic and unpredictable nature. Recent developments in 3D simulation environments and game audio technologies suggest that alternative approaches to music composition and distribution are possible, presenting an opportunity to address some of these issues. In particular, this Portfolio of Compositions proposes the use of real and virtual space as a new medium for the creation and organisation of sound events via computer-simulated audio-sources. In such a context, the role of the performer is sometimes assumed by the listener itself, through the operation of an interactive-adaptive system, or it is otherwise replaced by a set of automated but flexible procedures. Although all of these works are sonic centric in nature, they often present a visual component that reinforces the multimodal perception of meaningful musical structures, either as real space locations for sonic navigation (locative audio), or live visualisations of physically-informed gestural agents in 3D virtual environments. Consequently, this thesis draws on general game-audio concepts and terminology, such as procedural sound, non-linearity, and generative music; but it also embraces game development tools (game engines) as a new methodological and technological approach to electroacoustic music composition. In such context, space and the real-time generation, control, and manipulation of assets combine to play an important role in broadening the routes of musical expression and the accessibility of the musical language. The portfolio consists of six original compositions. Three of these works–Swirls, Alice - Elegy to the Memory of an Unfortunate Lady, and Alcazabilla–are interactive in nature and they required the creation of custom software solutions (e.g. SonicMaps) in order to deal with open-form musical structures. The last three pieces–Singularity, Apollonian Gasket, and Boids–are based on fractal or emergent behaviour models and algorithms, and they propose a non-interactive linear organisation of sound materials via real-time manipulation of non-conventional 3D virtual instruments. These original instrumental models exhibit strong spatial and kinematic qualities with an abstract and minimal visual representation, resulting in an extremely efficient way to build spatialisation patterns, texture, and musical gesture, while preserving the sonic-centric essence of the pieces.

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Neste trabalho descreve-se a implementação da técnica do pulso eletroacústico (PEA) para a determinação de perfis de carga espacial em dielétricos. O método é baseado no sinal acústico gerado pela aplicação de um pulso de tensão elétrica de curta duração na amostra. O sinal acústico gerado é detectado usando-se um transdutor piezoelétrico acoplado à amostra. São discutidos os detalhes experimentais do sistema e os procedimentos matemáticos para o tratamento do sinal elétrico medido. O tratamento matemático do sinal é baseado na técnica de desconvolução que permite determinar a função de transferência do sistema. A função de transferência permite eliminar do sinal medido as distorções introduzidas pelo circuito de medida, pelas reflexões espúrias do sinal acústico, etc.. Mostra-se também os procedimentos matemáticos para se corrigir a atenuação e dispersão do sinal acústico durante a propagação através da amostra. A técnica PEA foi utilizada para o estudo dos perfis de carga espacial injetada em amostras de polietileno sintetizados com diferentes catalisadores: Ziegler-Natta e Metallocene. O campo elétrico aplicado para polarizar as amostras e injetar cargas elétricas nas amostras foi variado de 0,05 MV/cm a 0,9 MV/cm. Nas amostras de polietileno sem aditivos a injeção de cargas elétricas na amostra é bem menor que em amostras com aditivos anti-oxidantes Mostra-se também que o campo elétrico de ruptura depende da carga injetada na amostra, sendo ele maior quando a polaridade da tensão de teste de ruptura é a mesma da tensão aplicada que provocou a injeção de cargas elétricas na amostra. / It is described the implementation of the electroacustic pulse technique, PEA, for the determination of space charge profiles in dielectrics. The method is based on the acoustic signal generated by the application of a voltage pulse with short duration on the sample. The acoustic signal generated by pulse is detected by using a piezoelectric transducer coupled to the sample. Details of the experimental system and of the mathematical procedure for the treatment of the measured electric signals are discussed. The mathematical treatment is based on the deconvolution technique which enables us to obtain the transference function of the system. The use of a transference function eliminates distortions caused by reflections that are introduced by the measurement circuit. Mathematical procedures for the correction of attenuation and dispersion of the acoustic signal during the propagation throughout the sample are also discussed. The PEA technique was used to measure the profiles of injected space charge in polyethylene synthesized using different catalysts: Ziegler-Natta and Metallocene. The electric field applied to polarize and to inject electric charges in the sample was varied form 0.05MV/cm to 0.9MV/cm. In samples of polyethylene without additives it was observed that the injection of charges is less intense than in samples containing anti oxidant additives. It is also shown that the critical electric field for the breakdown depends on the injected charge on the sample being; larger if the rupture tests were performed using the same polarity of the voltage used to pole the samples. Breakdown measurements were also performed with ozone treated samples.

Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

Mémoire en recherche-création / Ce mémoire de maîtrise synthétise la démarche de recherche qui a mené à la création des œuvres audiovisuelles Interférences (String Network), DATANOISE et Pharmacologie, ainsi qu’à deux études de musique fixée. Ce texte propose une réflexion sur les possibilités d’utilisation des technologies numériques en temps réel, dans un contexte de performance électroacoustique. Il vise à développer des stratégies afin de pouvoir interpréter et incarner physiquement les musiques numériques. Les notions de risque, de collaboration et de symbolique en musique sont abordées. Ce mémoire défend la création de dispositifs audiovisuels spécifiques comme élément constituant de l’œuvre artistique. Il tend vers une corporalité de l’œuvre électroacoustique, par la recherche d’adéquation entre la nature des outils utilisés, l’attitude corporelle de l’interprète, la symbolique des éléments visibles, et le contenu de la composition musicale. / This Master’s thesis summarizes the the research process that led to the creation of audiovisual works Interférences (String Network), DATANOISE and Pharmacologie, as well as two studies of fixed music. This text proposes a reflection on the possibilities of using digital technologies in real time, in a context of electroacoustic performance. It aims to develop strategies to perform and embody digital music. The notions of risk, collaboration and symbolism in music are discussed. This thesis defends the creation of specific audiovisual devices as constituent element of the artistic work. It tends towards a corporality of the electroacoustic work, by the search of adequacy between the nature of the tools used, the bodily attitude of the interpreter, the symbolism of the visible elements, and the content of the musical composition.

This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / La vidéomusique présente un riche terrain d'expérimentations pour le compositeur. Elle prend la forme d'un réseau où coexistent la musique, les images en mouvement et un langage qui épouse un propos plus poétique que prosaïque. La vidéomusique porte un nouveau regard sur les relations entre le son et l'image et, forte de cette analyse, jette les bases d'une nouvelle expression esthétique. Le présent ouvrage propose une typologie des relations son/image et présente la démarche créative de l'autrice par l'étude de trois vidéomusiques dans le contexte de leur création. Au fil des analyses, notre attention se portera sur trois axes : 1) la typologie des relations son/image comme outil servant à la fois à l'analyse et à la composition; 2) le travail simultané du son et de l'image; 3) la création d'une expérience esthétique sensible et émotive, basée sur le mouvement de matériaux captés dans l'environnement naturel. / Videomusic presents a rich field of experimentation to the composer. It takes the form of a network where music, moving images and a language closer to poetry than prose coexist. It explores the ways in which sound and image can be related and what kind of expression these relationships allow. This work proposes a typology of sound/image relations and presents the author's creative process through the study of three videomusic works and the context in which they were created. In the course of the analyses, our attention will focus on three axes: 1) the typology of sound/image relations as a tool for both analysis and composition; 2) the simultaneous work on sound and image; 3) the creation of an aesthetic experience that evokes emotions and meaning by drawing on the movement of materials captured in the natural environment.

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