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Introduction
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Publications
Publications (16)
I'm afraid this publication can not be shared privately or publicly as it is a copyright book.
https://www.routledge.com/products/9781138925038
Acousmatic music asks for very active listening and is often quite challenging. Allowing for cross-modality enables strong, often physical associations to emerge and potentially affords greater understanding during the work and greater recollection of the work. Composers of acousmatic music are often aware of the need to engage the listener at nume...
This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and disadvantages of working live. At the heart of this paper is a compositional dri...
Electroacoustic music on fixed media has predominantly comprised one fixed file played back in performance. This has been ideal on many levels. From an aesthetic point of view, decisions made by the composer are `burned in'. There is a level of exactitude which cements the reduced listening approach and marks a clear divide between composer, perfor...
A discussion of rhythm, pulse, groove (and time) in electroacoustic music with specific reference to the audio project 'Metricity'. Abstract The 'Metricity' project is an umbrella term for my current creative explorations into what is for me very dangerous territory: pulse, rhythm and repetition. I will hopefully have completed a new work during a...
In recent years, electroacoustic theorists have drawn attention to the experiences and interpretations of listeners; well-known examples include the writings of Stéphane Roy, Luke Windsor, Christiane Ten Hoopen and Denis Smalley. During the same period, relatively little has
been said about the methods and techniques employed by composers during th...
This article contributes towards knowledge and understanding of the creative use of software and hardware tools for computer music. It stems from a need to reassess strategic spending within an academic department on music IT, and an interest in the advantages of open source software
for managing musical and collaborative projects. The authors disc...
Purpose
The purpose of this paper is to report research that sought to understand the requirements of information systems designed to support people engaged in creative intellectual activity. The research aimed to provide empirical evidence based on a case study of a particular arena of creativity, namely electro‐acoustic music composition. However...
For many, the process of composing electroacoustic music with the computer begins with free exploration of materials. Somewhere within this experimentation, seeds are sown and specific directions are taken. However, there comes a time when, and for myself this is most important part of the composition process, sounds are set, usually in some form o...
This paper outlines some of the rapid changes taking place in electroacoustic music performance and introduces the M2 diffusion system, currently in use at The University of Sheffield Sound Studios (USSS). The paper focuses upon a process commonly known as ‘sound diffusion’ and the performance of music usually played from CD or computer. The M2 sys...
This paper presents an empirical study of electroacoustic music composers at work, using qualitative research methods. The study is based on experiments in which composers were commissioned to work on pieces using their own familiar software and hardware environments. Rich data was collected through multi-angle observations, interviews and artifact...
This report constitutes the first deliverable of the "Composition Tools" Task (T6) of the MOSART Research Network Project and the Final Report on a Qualitative Analysis of Composers as Work conducted at the University of Sheffield in collaboration with Mosart. In it we document work towards defining a set of requirements for enhanced support for el...
One key area that has been largely neglected in research and development into electroacoustic music composition systems and tools is support for composers' creativity, as opposed to audio processing mechanisms by which creative ideas are realized. Our aim is therefore to seek a basis for adding "depth" to composition software, such that it provides...
Abstract This paper outlines a new electroacoustic composition,project. Its aim is to afford greater flexibility and improvisation in performance. Complementary,to this is a re-design of the analogue,diffusion console to facilitate increased,composer,control over the entire work at time of presentation. The project investigates the composition,and...
Projects
Project (1)
Looking at the role of sound in immersive environments. The word 'immersive' is used mainly to describe technology (AR, VR, XR). Yet in all immersive applications the sounds used have remained the same. Composers (particularly electroacoustic musicians) have had immersion at the core of their work. The bridge between new technologies and electroacoustic music is something that is really exciting and worthy of scientific and creative exploration.
