This thesis tracks my journey through eight creative works which employ a broad range of methodologies to map the dynamic life of lines and that focus on concepts of ephemerality, gestural tracing, grains and swarms of sound, and temporal independence. My original contribution to knowledge in composition is led by my personal relationship to sound as mediated through physical gesture in performance. Drawing upon the work of anthropologist Tim Ingold, I have worked with video as a medium for my own sketch processes and as a scoring platform. Video is used to capture and document qualities of motion that bring choreographic and multimodal thinking into my music, propagating divergent approaches to structuring and determining parameters. Through this I have developed ways of thinking compositionally through the visual medium and worked with micro and macro qualities in timbre and movement to achieve effects that I term 'dynamic stasis'. Central to my thinking is an expanded concept of the line as gestalts of sound, video, bodily and mechanical movement, with form arising from a meshwork of such lines. The line as represented in video and musical action contributes to the tendencies and behaviours of precisely notated sound and physical movements in my music, that are reflected in irregular divisions of time and frequent fluctuations of sound characteristics. My discussion of the visual and choreographic perspectives of my notation and multimodal ways of thinking about composition is contextualised with examples from composers such as Jennifer Walshe, Simon Steen- Andersen and Stefan Prins, and the video scoring systems of Cat Hope.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:717031 |
| Date | January 2016 |
| Creators | Portelli, Daniel |
| Contributors | Lim, Liza |
| Publisher | University of Huddersfield |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://eprints.hud.ac.uk/id/eprint/32048/ |
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