There are many facets that influence the quality of a musical theatre production. The visual
appeal is created from the décor, costumes and lighting, whereas the plot, pace, and
relationship a listener develops with the characters are fundamental to the performance
quality. However, one often overlooked factor is the impact of sound quality. The perception
of sound quality is subjective but is greatly impacted by the environment in which the listener
finds themselves. If the projection of the music is underwhelming in depth and expression, or
the balance of the dynamics and timbre are badly mixed, this can jeopardise the production’s
success, regardless of the quality of the composition or the visual aspects.
The production budget for a musical performance can be prohibitive. As a result, prerecorded
music is often used as an alternative substitute to live musicians. However, the
subjective authenticity of a musical may be jeopardized by the exclusion of live musicians
and create additional challenges and performance limitations. One such challenge is the
environment in which music will be played. Recorded music is usually created in a single
format such as compact disc or for broadcasting, and the cost of recording be can just as
expensive as a live performance, especially on large scale works. Time and budget
constraints may impact the sound quality. In addition to this, the varying acoustic properties
of potential venues may emphasise sonic gaps and flaws contributing to a listener’s negative
perception of the sound quality, resulting in a compromised experience of the performance as
a whole.
This mixed method dissertation offers a systematic explanation to potentially resolve these
challenges and limitations by conceptualising established knowledge of sound, audio and
acoustics to formulate a framework for adaptive sound. These concepts are put into practice
by creating a specifically designed audio recording that is experimented with in multiple
theatre scenarios to successfully achieve optimal adaptation of the sound for the theatre
environment. / Dissertation (MMus)--University of Pretoria, 2019. / Music / MMus / Unrestricted
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:up/oai:repository.up.ac.za:2263/76720 |
| Date | January 2019 |
| Creators | Anderson, Michael-John Peter |
| Contributors | Warrington, Miles Simon, u13239912@tuks.co.za |
| Publisher | University of Pretoria |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Dissertation |
| Rights | © 2020 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
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