Composition as Commentary: Voice and Poetry in Electroacoustic Music
- Submitting institution
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Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_J0036
- Type
- J - Composition
- Month
- -
- Year
- 2020
- URL
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https://www.jar-online.net/exposition/abstract/composition-commentary-voice-and-poetry-electroacoustic-music
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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-
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Edmund Hunt’s _Composition as Commentary: Voice and Poetry in Electroacoustic Music_ is a multimedia exposition (including text, audio recordings, scores, and musical and linguistic analysis), published online in an international, peer reviewed journal (the _Journal of Artistic Research_). The exposition focuses on two electroacoustic compositions, providing detailed information about the methodology, research questions and processes that define these outputs as practice-based research.
The exposition describes a critical investigation into the possible roles and uses of spoken or sung poetry in electroacoustic composition. It provides a paradigm for practice-based research in composition in which material from other disciplines (such as literature or linguistics) informs elements of the process of research and creation. More specifically, the exposition demonstrates how detailed literary, linguistic and grammatical analyses can become an integral part of creative musical processes. As the musical outputs are based solely on the thematic, sonic and linguistic content of untranslated texts, this work is relevant to researchers and practitioners in diverse fields including musical composition, electronics, vocal processing, and English language and literature. Performances of the pieces in venues in the UK, Germany, Ireland and elsewhere have allowed audiences from outside academia to engage with the work’s literary, linguistic and sonic themes.
The methodology described here provided a preliminary case study for a successful AHRC application (‘Augmented Vocality: Recomposing the Sounds of Early Irish and Old Norse’). The AHRC project draws together researchers from the fields of music, live electronics and early literature from Royal Birmingham Conservatoire and the University of Cambridge.
- Author contribution statement
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- Non-English
- No
- English abstract
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