Skip to content
Thesis Info
- LABS ID
- 00362
- Thesis Title
- Embodied Composition. Treatment and Meaning of Physical Object in Experimental Music and Sound Art
- Author
- Svetlana Maras
- E-mail
- svetlanamarash AT gmail.com
- 2nd Author
- 3rd Author
- Degree
- MA in Sound In New Media
- Year
- 2011
- Number of Pages
- 59
- University
- Aalto university School of Art and Design
- Thesis Supervisor
- Antti Ikonen
- Supervisor e-mail
- Other Supervisor(s)
- Marianne Decoster-Taivalkoski
- Language(s) of Thesis
- English
- Department / Discipline
- Sound in New Media
- Copyright Ownership
- Svetlana Maras
- Languages Familiar to Author
- English
- URL where full thesis can be found
- Keywords
- experimental music, sound art, physical object, composition
- Abstract: 200-500 words
- This thesis is a theoretical examination of the musical and artistic works and practices where physical object other than musical instrument is used in the production of musical meaning. This subject is explored within the frame of contemporary and experimental music and sound art, but the systematic overview is made from the perspec- tive of the last two genres. The focus is on explaining how physical objects acquire musical function from theoretical point of view, and what practical interventions are needed to make an object produce a musical meaning. Objects within musical context can have various functions, and some of these functions which I considered essential, have been described and analyzed through the works by distinguished artists. Inspiration for this text comes from the existence of discrep- ancy between the abstraction of music and corporeality of objects, which are able to exist together in the form of musical objects that I am describing. I was stimulated to think thoroughly about this topic and to summarize the observations from my own experience of playing with objects and dealing with them in my musical works. My goal was through the in-depth analysis of objects and the way of their usage, to develop a better comprehension of the the reason why for centuries artists have aimed towards the embodiment of music into physical form, and to try to spot the indications of new musical practices which are developing around these musical objects.