Campbell, Iain Findlay
I played | here for you | like so | now | listen good. On disrupting the exchange in sound composition and reception.
MMus(R) thesis, University of Glasgow.
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The following commentary focuses on the discussion of a developing research practice in sound composition which seeks to apprehend reception context by prioritising acts of ‘reading’ in both the generation and (re)presentation of materials. In particular, this commentary reflects on the development of compositional methods based on: the recording (documentation) of everyday, arbitrary action and events; the editing of recorded materials, and the restaging of materials in contexts which work to destabilise the ‘readability’ and coherence of an emergent ‘work’. By relating this developing practice to examples of minimal, acousmatic and electroacoustic composition, and those of post-modern theory, minimal art and contemporary theatre, this commentary will summarise an cross-disciplinary research practice motivated towards problematising both reception context, and ‘completeness’, as they pertain to ‘music’ - as object, event, and idea.
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