For me, one of the salient features of acousmatic composition is the capacity to compose the performance – where the composer-performer can form (or perform) a concrete musical structure, whose every timbral and temporal detail can be reproduced from one concert to another. This ability to capture, combine and idealise spontaneous performance was the catalyst behind Concrètisations. I began composing the work by editing and combining several recorded improvisations. I sought to preserve the performative energy and micro-level developmental characteristics of the original recordings, whilst further enhancing them using combinations of montage and real-time signal processing techniques. The original improvisations were performed on an interactive software instrument, which is the real-time implementation of processes used in some of my earlier pieces.
|Place of Publication||Staffordshire University, ST18 0AD|
|Publication status||Published - 2012|
|Event||NoiseFloor Festival: Festival of Electronic Music - Staffordshire University, ST18 0AD, Stafford, United Kingdom|
Duration: 2 May 2012 → 4 May 2017
- musique concrète