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Sound Objects, Cybernetics and Interactivity: tracing aesthetic connections between three of my recent electroacoustic compositions

AutorInnen Alphart, B.
Jahr 2021
Art der Arbeit Bachelorarbeit
Themenfeld Algorithmische Komposition
Schlagwörter Computer Music, Computermusik und Elektronische Musik, Machine Listening, Dynamische Systeme, Algorithmische Komposition, Live Elektronik
Abstract This text reflects on three of my most recent works in computer music. It aims to point out common threads, which show the development of overarching aesthetic ideas throughout these compositions, from sound object design to cybernetics and interactive music systems. The pieces in question are Spin! (acousmatic), songs of the deep (acousmatic) and friendly neighborhood beasts (for viola and interactive music system). I will examine each of the works regarding which aesthetic and technical foundations contributed to its realization. Then, in later chapters and the conclusion, I will show that the pieces build directly on each other’s ideas, developing them further regarding their sonic aesthetics and musical structure, involving more and more input going beyond my agency. A focal point of this artist statement lies at the center of my current musical language and was first introduced in Spin!: the growl. This sound object can be found prominently in all three pieces mentioned above. It is deeply connected to my personal (musical) history and subsequently used in expressive gestures on numerous occasions, even representing the form-giving musical idea for songs of the deep, thereby growing ever farther removed from the context I initially encountered it in. The changing approach to its sound design reflects the aesthetic and structural developments indicated above. As sound object and musical gesture will be central terms in the following text, there meanings shall now be examined. The sound object is a phenomenon brought upon by the acousmatic listening situation. One in which “a noise can be heard without the causes from which it comes being seen” (Schaeffer 2017, 64). Therefore, it is independent of causal references such as “sound body, sound source, or instrument” (Schaeffer 2017, 67) and occurs instead when the origin of a sound is not identifiable in the acousmatic listening situation. Thereby creating a new sonic entity, free from its original emitter, that can be studied, described, and communicated. (see Schaeffer 2017, 67-69) The musical gesture can be understood in the following as the basic building block of musical structure. It is the cumulative associative motion or action one or many sound objects, or other musical structures undertake.
URL https://phaidra.kug.ac.at/o:122931
BetreuerInnen Eckel, G.