Multi-tool suite of pieces for vocals, guitar and interactive system.
- Submitting institution
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Falmouth University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 351
- Type
- J - Composition
- Month
- July
- Year
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
- -
- 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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D - Digital Creativity
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The three pieces in this suite investigate how interactive audio-visual systems can extend traditional singer-songwriter practice to create performances that demonstrate a high degree of liveness (Sanden 2013, Croft 2007). The pieces build on existing work by minimising reliance on pre-sequenced material (Cycling ‘74 2016), avoiding use of a strict score (Marchini et al 2017) and removing need for additional controllers or instrument modifications (Donovan and McPherson 2014, Kristensen 2012).
The project followed a practice-research methodology, involving iterative stages of system-building/composing, reflection, and literature review (Johnston 2014). The research questions were ‘how does using multi-tool interactive systems impact on songwriting process?’ and ‘how does using multi-tool interactive systems in songwriting impact on liveness?’. Insights were derived through examination of creative practice (Nelson 2013), consideration of audience perspective (Reeves et al 2005) and evaluation of performer experience (Candy 2014).
In terms of impact on the songwriting, it was found that:
• Building and configuring the interactive system is integral to the process.
• Interactive systems can be introduced at the beginning of the process or the arrangement stage.
• Various strategies were developed to ensure coherence between composed song elements and unpredictable interactive system outputs.
In terms of the impact on liveness, it was found that:
• Spatio-temporal and corporeal liveness was achieved through incorporation of real-time data and representations of the audio outputs in the visuals.
• Interactive liveness was increased where there was less pre-sequenced material and where audio and representational data from the performer’s vocal and guitar were used to generate system outputs.
• Aesthetic liveness was achieved where the system’s outputs related to the song’s lyrical and musical themes.
Findings have been shared in a book chapter, in conference presentations, video recordings and live performances.
Research Output: Suite of audio-visual compositions
Contextual: software, performance documentation
- Author contribution statement
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- Non-English
- No
- English abstract
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