record

Thesis Info

LABS ID
00214
Title
Compositional Strategies in Electroacoustic Music
Author
Jorge Rodrigo Sigal Sefchovich
2nd Author
3rd Author
Degree
PhD
Year
2003
Number of Pages
151
University
City University, London
Thesis Supervisor
Dennis Smalley
Supervisor e-mail
d.smalley AT city.ac.uk
Other Supervisor(s)
Language(s) of Thesis
English
Department / Discipline
Electroacoustic Music Compostion
Languages Familiar to Author
Spanish and English
URL where full thesis can be found
www.rodrigosigal.com
Keywords
rodrigo, sigal, electroacoustic, music, computer music, spectromorphology, composition
Abstract: 200-400 words
This thesis accompanies the five electroacoustic pieces of the portfolio and aims to discuss compositional strategies. The pieces were designed with the intention of exploring ways of creating relationships between musical materials of differing natures. Structuring methods are outlined using examples from two acousmatic and three mixed works (for solo instrument and electroacoustic sounds). 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 sound 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. This thesis accompanies the five electroacoustic pieces of the portfolio and aims to discuss compositional strategies. The pieces were designed with the intention of exploring ways of creating relationships between musical materials of differing natures. Structuring methods are outlined using examples from two acousmatic and three mixed works (for solo instrument and electroacoustic sounds). 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 sound 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.