Multicomponent - Installations for St Giles
- Submitting institution
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Edinburgh Napier University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2275375
- Type
- J - Composition
- Month
- -
- Year
- 2019
- URL
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https://portfolios.napier.ac.uk/view/view.php?t=tDocJbHCl1IzSgQ3LEyB
- 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
- These works build on practices that have been part of my professional life for over eight years. The creation of an installation within a gallery context (Hails 2011) created a flexible context for performances and for visitors to experience the installation in an informal way. Creating concert environments where the audience was encouraged to move around the building (Hails 2013, 2014; Edinburgh Experimental Musicians 2016) changed the experience for those who engaged with this opportunity. Diffusing Xenakis in an underground nightclub (Xenakis 1962, 1977) enabled some interesting collisions of audience cultures.
These experiences were contextualised by diverse experimental music performance practices (Gottschalk 2016; Saunders 2009; Toop 2001, 2004) and sound art (LaBelle 2006; Licht 2007; Voegelin 2010), which encouraged me to develop the relationship between concert/sound and audience further. This was enhanced by critiques of music cultures (Small 1998; Stubbs 2009) and art (Benjamin 1999; Bürger 1984) which encouraged me to reflect on ways in which musical context shapes the reception and inclusivity of a performance or installation, and how engaging in alternative forms of hermeneutics might open it out to a wider audience.
The addition of sound into a physical space can transform the experience of the space, and the interaction of a performance/installation with the space itself can create a powerful relationship between audience and space.
Two components of clair de lune rely heavily on techniques devised first as part of my PhD portfolio of compositions (Hails 2008):
1. The live signal processing in Le Prince d'Aquitaine dans le clair de lune;
2. The techniques of reordering materials in time in la lune triste.
The theoretical basis of MANDALA (tuning, modal, astrological) depends on readings in ethnomusicology and organology (Kartomi 1990; Provice, Tokumaru, and Witzleben 2002). A specific melody (Thompson no date) provided pitch material for the installation.
- Author contribution statement
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- Non-English
- No
- English abstract
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