Creating a Context for Listening: The Choreography of Sound

Abstract

My thesis is an investigation into an omnidirectional approach to composition of experimental music. This involves considering the conditions of performance as compositional aspects, in addition to composing sounds. Thus, room, space, spatialisation, movement (choreography) and one’s immersion in sound, are examined as compositional parameters in the creation of both artistic works and context. This approach explores the possible artistic applications of trajectories, placement, direction, and the momentum of sounds, objects, and bodies in space and performance. The effect these have on perception, and experience is examined. Instrumental in setting sound in motion (beyond that of the natural motion of a soundwave that is in essence always moving through time and space), are the tools choreography and movement. Reliant on live interaction, they seek to create an interdependent connection between sound and body, body and space, and vice versa. This investigation also takes a closer look at listening practices, questioning how and why we/I listen, and how listening affects my compositional choices and the creative possibilities throughout. Overall, the process attempts to create an interconnected interplay between all things – sound, space, movement, visual stimulus, and situation – questioning the effect these have on composition and performance.