Abstract:
The aesthetic language and sonic markers of digitally created music have long since become fully established in the sonic palettes of performers, composers and listeners, and this has, in turn, had an influence on the performance, composition and perception of music which is created using principally non-digital means. A common example would be acoustic drum kit players borrowing from machine-generated grooves, however, this digital engagement within acoustic music can also be found outside groove-directed styles, including in contemporary experimental composition. In addition to absorbing this influence, much digitally engaged acoustic music seeks to make a uniquely acoustic contribution to an established digital aesthetic. In this talk I propose a general framework, building on pre-existing ideas, in which to discuss, interpret and contrast pieces of digitally engaged acoustic music. I use examples from my own and others compositions to focus on insights this framework can give into rhythm, and how this can inform my practice as a composer.
Bio:
I am a multi-instrumentalist and composer currently working towards a PhD at the University of Southampton in the UK. My PhD project involves the creation of two distinct sets of musical works: Loop Work is a set of open score instrumental compositions grounded in the technique of looping; Accomplices is a series of electronic fixed-media compositions made through an iterative process with an improvising musician. Both approaches are underpinned by an interest in repetition and groove, the notion and practice of digital signatures, and the objective to engage performer creativity and agency.