Resonance & Collaboration
- Submitting institution
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The University of Hull
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- SlaterPar
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Practice-as-Research Portfolio in Composition
- Open access status
- -
- Month
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- Year
- 2017
- 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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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The three pieces in this portfolio investigate, through compositional practice, the generative effects of two concepts: resonance and collaboration. The pieces exploit the capacity of contemporary recording technology to render sound malleable while exploring how collaboration productively shapes new musical works.
Resonance is temporal in that it is acoustical (millisecond spans of a reverberant space) and historical (century-long arcs from which we can borrow musical materials). Resonance is also analytical and conceptual; patterns are sought and modified to provide source material in new compositional contexts. Additionally, the inter-connecting parts of a collaboration
resonate: performers and laptops resonate with one another via real-time processing and with their histories, biographies, aesthetic preferences, and immediate acoustic surroundings. This conceptualisation of resonance’s multiple dimensions emerged through and informs the compositions.
Insights on the improvisatory-collaborative process at the core of my practices were shared at the PSN 2018 conference, including a performance of Apheresis (which led to significant changes to amplify the multiple resonances at play). Performing Apheresis as part of the British Science Festival and Flourishes as the Fruit at Kings Place for a general-public audience enabled me to show how the microphone reveals previously unheard qualities of (familiar) sounds to explain the conceptual and practical ideas underpinning the pieces. The result of this work – on me as a composer, on performer-collaborators, on eventual audiences – is to listen differently. By focussing on multiple and simultaneous resonances through the analytical lens of recording technology, new qualities and possibilities for the organisation, manipulation and presentation of sound are proposed.
- Author contribution statement
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- Non-English
- No
- English abstract
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