asinglewordisnotenough (aswine)
- Submitting institution
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The University of Huddersfield
: A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - Music
- Output identifier
- 10
- Type
- T - Other
- DOI
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- Location
- -
- Brief description of type
- Multi-component: Compositions, Interactive performance software, live video capture, fixed media audio files and album including Contextual Information
- Open access status
- -
- Month
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- Year
- 2015
- URL
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- 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
- asinglewordisnotenough is a series of pieces based on common musical materials and technical inquiries. They investigate the articulation of human presence and its entanglement within fixed- and mixed-media works, blurring the line between the acousmatic and the live conditions of listening. Issues such as the perceptual translation of sound objects; the cross-modality of their perception with performers present or implied; the problem of loudspeakers as sound sources; of gestures and their surrogates; of reusing material explicitly and implicitly across archetypes; and of the dichotomy between acoustic and electronic sound objects, are all illustrated within and between the works. The first strand of research in the pieces, which share sonic material and formal concerns, is the poetic impossibility of translation: the hypothesis makes use of the metaphor of a protagonist trying to be understood across languages through repetition, over-explanation, or distilled impression, with one of these techniques exploited in each of the pieces. A second strand of research is the intersection of aesthetics and technique: it contributes to the ongoing discussion in mixed-music literature and practice investigating the problems and affordances of the co-presence of loudspeakers and humans on stage and the omnipresent technologically entangled nature of twenty-first-century musicking. All these enmeshed questions were addressed through a methodology anchored in workshops with the performers, exploring the affordances of the musical material and its performability, and including consideration of the interaction with the electroacoustic parts, both in the software and in the acoustic reality of the hall. This fed back into the project in various ways, to deliver works that empower the performers as explicit agents with interpretative freedom and flexible embodiment at the forefront of the experiences, as the live videos (Items 4, 7, 11) capture and as the interactive performance software (Items 3, 6, 10) demonstrates.
- Author contribution statement
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- Non-English
- No
- English abstract
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