This thesis accompanies the folio of the acoustic and electroacoustic compositions of the portfolio, which consists of a work for soli, choirs and orchestra, an orchestral piece, a solo for oboe, four ensemble chamber composition and a string quartet with sound projection and live electronics. The works exhibit a variety of cross-disciplinary approaches from theatrical, live electronics, networked performance, and narrative and multichannel/sound projection. The main concerns spanning the portfolio are the connections navigated through a 'synthesis' of multiple disciplines within the language of acoustic and electroacoustic music, and challenging areas of research that question and raise new musical possibilities. In all these works the morphological handling of music matter is always intertwined with issues of formal construction. For each composition I described applied studio techniques, sound sources, transformations and formal elements. As compositional tools, special software have been used, explored and developed in contrasting programming languages. These programs are briefly introduced, showing their links to compositional processes. The commentary presents supplementary information on each work, with a view to providing the reader with insights into the evolution of my compositional vocabulary. A particular attention has been devoted to the pre compositional and perceptual spatial aspects of my work, with reference to theoretical writings and research in the field.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:695763 |
| Date | January 2016 |
| Creators | Rusconi, Roberto |
| Contributors | Keeley, Robert Ian ; Benjamin, George William |
| Publisher | King's College London (University of London) |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | https://kclpure.kcl.ac.uk/portal/en/theses/integrated-musical-perspectives(e7f19391-0941-4428-bc06-217f8c998f45).html |
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