Compositional Strategies in Electroacoustic Music
Generating materials and creating an effective musical language in electroacoustic music
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This thesis aims to discuss compositional strategies.The pieces were to explore ways of creatingrelationships between musical materials of differingnatures. Structuring methods are outlined usingexamples from two acousmatic and three mixed works.Analyses from a macro- and micro-perspective aid indescribing the principal elements of musicaldiscourse and the personal methods of achievingmusical coherence.Three stages of the compositionalprocess are defined and discussed, forming aframework within which the computer transformationsand instrumental sources are described. The firststage consists of...
This thesis aims to discuss compositional strategies.
The pieces were to explore ways of creating
relationships between musical materials of differing
natures. Structuring methods are outlined using
examples from two acousmatic and three mixed works.
Analyses from a macro- and micro-perspective aid in
describing the principal elements of musical
discourse and the personal methods of achieving
musical coherence.Three stages of the compositional
process are defined and discussed, forming a
framework within which the computer transformations
and instrumental sources are described. The first
stage consists of the generation of material and the
qualifying of the sounds as the basis for initial
musical relationships. Then the structuring of the
musical discourse is discussed, highlighting links at
macro and microstructural levels. Finally, issues of
performance are discussed. Feedback from the
performer and the design of a common synchronisation
method for the three pieces drives the structural
design of the works. Musical material and the visual
information during performance are investigated, and
consideration is given to their implications
throughout the compositional process.
The pieces were to explore ways of creating
relationships between musical materials of differing
natures. Structuring methods are outlined using
examples from two acousmatic and three mixed works.
Analyses from a macro- and micro-perspective aid in
describing the principal elements of musical
discourse and the personal methods of achieving
musical coherence.Three stages of the compositional
process are defined and discussed, forming a
framework within which the computer transformations
and instrumental sources are described. The first
stage consists of the generation of material and the
qualifying of the sounds as the basis for initial
musical relationships. Then the structuring of the
musical discourse is discussed, highlighting links at
macro and microstructural levels. Finally, issues of
performance are discussed. Feedback from the
performer and the design of a common synchronisation
method for the three pieces drives the structural
design of the works. Musical material and the visual
information during performance are investigated, and
consideration is given to their implications
throughout the compositional process.
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