A scholarly approach to composing electroacoustic music

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dc.contributor.author Coulter, John en
dc.date.accessioned 2012-03-12T02:40:42Z en
dc.date.issued 2008 en
dc.identifier.citation Canzona 2008: The yearbook of the Composers Association of New Zealand. 29:27-37 2008 en
dc.identifier.issn 0110-7771 en
dc.identifier.uri http://hdl.handle.net/2292/13924 en
dc.description.abstract Once more with feeling!’ In the future it may be possible for electroacoustic composers to instruct their computers in such ways – but for the time being it is their task is to create such poetry by wielding a matrix of constituent parameters with the skill and spontaneity of a virtuosic performer. Important work is being done by composer-researchers in the fields of audiovisual media pairing, multichannel spatialisation, and hyper-instrument design to gain a clearer understanding of the language of sound-based music, and to develop ‘instruments’ capable of responding to intuitive forms of human expression. This research is being undertaken with an acute knowledge of the engineering that makes such advancements possible, and an understanding of the compositional processes and phases in which the technology may be advantageously employed. The work carries with it the promise of a new age – an era in which technology has become seamlessly integrated with composition and performance practices. The ordinary composer also rides this wave. An incisive understanding of the creative process, together with a scholarly approach to musical practice provides him/her with ‘passage’ to this promised land and liberation from the routines imposed by 19th-century conservatorium approaches, and industry-defined compositional methods. The study seeks to illuminate a general process of creative practice that is relevant to all forms of electroacoustic composition. Three frameworks are examined: those that contain singular creative tasks, those that contain multiple tasks, and those that contain multiple creative projects. A 3-tiered model of reflective practice is then offered, and procedures common to all electroacoustic composers are discussed. The action research paradigm is then presented, followed by domain-specific guidelines for undertaking practice-led research. Key differences between ‘composing’ and ‘researching’ are examined, and principles of conducting practice and research simultaneously are submitted. For those working in studio-based settings, the study provides a model and a vocabulary for discussing his/ her creative process, as well as procedural guidelines for contributing to expert domain knowledge through practice-led research. en
dc.description.uri http://web.ebscohost.com.ezproxy.auckland.ac.nz/ehost/detail?sid=6eaee95b-bd04-4ea2-b255-bb679a531072%40sessionmgr13&vid=1&hid=106&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=anh&AN=60877769 en
dc.publisher Johnston Press Wellington New Zealand en
dc.relation.ispartofseries Canzona 2008: The yearbook of the Composers Association of New Zealand. en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.title A scholarly approach to composing electroacoustic music en
dc.type Journal Article en
pubs.begin-page 27 en
pubs.volume 29 en
dc.rights.holder Copyright: Johnston Press Wellington New Zealand en
pubs.end-page 37 en
dc.rights.accessrights http://purl.org/eprint/accessRights/RestrictedAccess en
pubs.subtype Article en
pubs.elements-id 290137 en
pubs.org-id Creative Arts and Industries en
pubs.org-id Music en
pubs.record-created-at-source-date 2012-02-10 en

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