In this thesis dissertation, the author examines fundamental questions that have been raised through the field of electroacoustic music concerning the stages of the musical process from creation to reception. Chapter 1 argues for a four stage conception (based on a critique and extension of Molino's tripartite scheme): ‘poiesis', “realisation score', signal', and ‘aesthesis'. The idea of historical 'paradigm' (after Kuhn) is examined and the central argument of the thesis propounded, namely the work of art as 'hypothesis under test'. Possibilities for a new musical paradigm are also explored. Chapter 2 applies Mellor's characterisation of model theory to music where composers have used 'non-musical models' for structure or material. Chapter 3 examines the articulation of 'mass' sounds in contemporary and electroacoustic music. Chapter 4 investigates 'mimesis' in electroacoustic tape music, and defines 'abstract' and 'abstract syntaxes' of music. Chapter 5 criticises the 'convergence' theory between the Paris and Cologne philosophies. Chapter 6 presents works by the author (abstract and analyses - tapes and scores constitute Volume 2) illustrating various uses of ‘model' in the composition of live electroacoustic music. Appendices cover topics on the music of Stockhausen, and two technical investigations.
Table of contents:
- Chapter 1: Analysis
- Chapter 2: The use of models and analogues in the poiesis of music
- Chapter 3: The articulation of Mass Sounds in electro-acoustic music
- Chapter 4: Methods and means in electro-acoustic music
- Chapter 5: Conflicts in historical perspective
- Chapter 6: Abstracts and analyses of works by the author
- Appendix 1: Stockhausen's Mikrophonie I
- Appendix 2: Stockhausen's Mikrophonie II
- Appendix 3: Stockhausen's Stimmung: Notes towards an analysis
- Appendix 4: Stockhausen's Form Schemes
- Appendix 5: Ring Modulation and Structure
- Appendix 6: Time to frequency domain transformation experiments