Third City - Electro-acoustic music performance
- Submitting institution
-
University of Central Lancashire
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 14285
- Type
- I - Performance
- Venue(s)
- The Continental, Preston, UK
- Open access status
- -
- Month of first performance
- June
- Year of first performance
- 2015
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
3
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- "The subject of this research is the relationship between acoustic and digital musical instruments (DMIs) using live sampling in improvisation. This practice-based research took place in Preston, 2016-2018, leading to multiple outputs. Dan Wilkinson was research author and sampler performer alongside multi-instrumentalist Jon Aveyard.
The research is framed by considering the affordances and limitations offered by acoustic and digital instruments as identified through literature review, particularly Magnusson and Hurtado Mendieta’s 2007 survey of performers using these different classes of instrument. The Third City research argues that using different acoustic instruments and different audio paths to link the acoustic instrument and DMI leads to different improvisational roles being adopted by the performers, and that some of the perceived limitations of DMIs can be mitigated against through the use of live sampling.
Furthermore, an acoustic-digital hybrid instrument was developed with which samples, when selected on the DMI, were only triggered when sounds from the acoustic instrument surpassed a given intensity meaning performer co-operation could lead to timbrally different but rhythmically synchronised musical events, acoustic and digital together. The research identified additional ways in which this hybridisation could overcome perceived limits of DMIs and that the hybrid made far more apparent the performers’ use of co-operation and blocking (i.e. a chosen absence of co-operation by one performer).
The significance of the research, therefore, is in engaging with the implications of using acoustic and digital instruments linked by live sampling in improvisational performance practice, and in the development of an acoustic-digital hybrid whose need for performer co-operation to trigger samples adds to the perceivable performer dynamic.
This is a multi-component output comprising:
- live performance set available as online videos and as an album,
- a separate performance with resulting EP,
- a journal article and conference presentation,
- a documentary film available online."
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
