Presence and resonance (four compositions 2014-2019)
- Submitting institution
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Middlesex University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 1527
- Type
- J - Composition
- Month
- October
- Year
- 2014
- URL
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http://eprints.mdx.ac.uk/31329/
- 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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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This submission consists of four compositions: Prado florido (2014), Folto giardino I (2016), Folto giardino II (2018) and Apollo e Marsyas (2019).
This sequence explores the co-existence of new music creation and the vast landscape of historical music – music that is at once de-historicised by participating in our contemporary culture and re-historicised by an ever-increasing awareness of practice and context. Reconciling Impett’s range of practices: composition, improvisation, sound art, contemporary and historical performance, they take their structure, material and performance dynamics (in the form of sound processing) from the music to which they refer:
Prado florido (parts I & III) – Prado verde y florido (Guerrero, Lisbon, late C16th)
Folto giardino I and II – Le Nozze di Figaro (Mozart, Prague, 1786)
Apollo e Marsyas – Paeans of Delphi (128 BCE), depicted by Tintoretto (1545)
The sequence brings new light to bear on significant aspects of current musical culture:
•Pan-historicity. The nonlinearity of personal and cultural memory through techniques of reference, fragmentation, mediated rehearing, interference, the re-mapping of ‘knowledge' and nostalgia.
•Conceptual and technical integration of computer-assisted composition, live sound processing and physical installation. Treating materials as wave behaviours; new wave algorithms allow their interaction across both composition- and performance-time. Simulation is a key modern technology; the ‘winds’ of a meteorologically-inspired dynamical system move, energise and disperse sound and material through time, embodied behaviours, physical environments.
•Current practices – exploring the ideas through detailed score, player-specific collaboration, ‘comprovisation’ and sound art approaches.
•Physical environment – whether a ‘meadow’ of cymbals, a ‘dense garden’ of long wires across audience and performers or the long resonant tubes of Marsyas’ aulos, the installations are playable and function as both microphones and loudspeakers.
- Author contribution statement
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- Non-English
- No
- English abstract
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