This thesis accompanies a portfolio of compositions and, in addition, discusses a number of compositional approaches which use physical modelling and physically inspired sound synthesis methods for the creation of electroacoustic music. To this end, a software library has been developed for the purpose of the real-time simulation of systems of inter-connected 10 and 2D objects, which has proven to be indispensable for producing the music works. It should be made clear from the outset that the primary objective of the research was not to add any novel scientific knowledge to the field of physical modelling. Instead, the aim was to explore in depth the creative possibilities of technical research carried out by others and to show that it can be utilised in a form which aids my own creative practice. From a creative perspective, it builds upon concepts and ideas formulated earlier by composers Jean-Claude Risset and Denis Smalley, centred around the interpretation of timbre and sound as constructs which actively inform compositional decision-making and structuring processes. This involves the creation of harmony out of timbre and playing with the source-cause perception of the listener through the transformation of timbre over time. In addition, the thesis offers a discussion of gesture and texture as they commonly appear in electroacoustic music and motivates my own personal preference for focussing on the development of texture over time as a means for creating musical form and function.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:695331 |
| Date | January 2015 |
| Creators | Dzjaparidze, Michaël |
| Publisher | Queen's University Belfast |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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