Compositional strategies in music for solo instruments and electroacoustic sounds

Part I of this dissertation examines five works by the author for solo instruments and electroacoustic sounds composed between 1986 and 1992. Chapter 1 deals with the conceptual framework which underlines the different compositional strategies employed in the works discussed. Chapter 2 examines the integration of instrumental sounds with electroacoustic sounds in the work Papalotifor piano and tape and its use to generate a dynamic structure. Compositional techniques are discussed in detail. In Chapter 3, the author discusses the work On going on for baritone saxophone and electroacoustic sounds focusing on improvisation as a significant element in the composition process and the structuring of instrumental and electroacoustic material. In Chapter 4 the generation of rhythmic objects is examined as the basis for the formal strategies in Acuerdos por Diferencia for harp and electroacoustic sounds. The design and integration of rhythmic objects are then discussed in the context of the composition process. Chapter 5 deals with the appropriation of an instrumental technique as the compositional instigator of choreomusical design in the conception and composition of As! el Acero for tenor steel pan and electroacoustic sounds. Chapter 6 focuses on the use of different stylistic traits as the basis for a compositional genesis, and the elaboration of instrumental and electroacoustic sound materials in Mannam for kayagum and electroacoustic sounds. In Chapter 7 the author discusses the dilemmas presented to the composer when discussing his own compositional strategies. The general context of the works discussed is analysed from the perspective of electroacoustic and acousmatic music, attempting to assess how such works may contribute to the changing sthetic enunciates of a young medium. A number of general theoretical and practical issues pertaining to mainstream electroacoustic music are then examined in closer detail. The author then puts forward the thesis that a significant advancement of experimental composition in general can be brought about by a renewed cross-fertilisation betweeninstrumental and electroacoustic thought and practice. Part II includes recording details, a score and a complete studio recording of each of the works discussed in Part I

Mobile-Based Interactive Music for Public Spaces

With the emergence of modern mobile devices equipped with various types of built-in sensors, interactive art has become easily accessible to everyone, musicians and non-musicians alike. These efficient computers are able to analyze human activity, location, gesture, etc., and based on this information dynamically change, or create an artwork in realtime. This thesis presents an interactive mobile system that solely uses the standard embedded sensors available in current typical smart devices such as phones, and tablets to create an audio-only augmented reality for a singled out public space in order to explore the potential for social-musical interaction, without the need for any significant external infrastructure

SOUND SYNTHESIS WITH CELLULAR AUTOMATA

This thesis reports on new music technology research which investigates the use of cellular automata (CA) for the digital synthesis of dynamic sounds. The research addresses the problem of the sound design limitations of synthesis techniques based on CA. These limitations fundamentally stem from the unpredictable and autonomous nature of these computational models. Therefore, the aim of this thesis is to develop a sound synthesis technique based on CA capable of allowing a sound design process. A critical analysis of previous research in this area will be presented in order to justify that this problem has not been previously solved. Also, it will be discussed why this problem is worthwhile to solve. In order to achieve such aim, a novel approach is proposed which considers the output of CA as digital signals and uses DSP procedures to analyse them. This approach opens a large variety of possibilities for better understanding the self-organization process of CA with a view to identifying not only mapping possibilities for making the synthesis of sounds possible, but also control possibilities which enable a sound design process. As a result of this approach, this thesis presents a technique called Histogram Mapping Synthesis (HMS), which is based on the statistical analysis of CA evolutions by histogram measurements. HMS will be studied with four different automatons, and a considerable number of control mechanisms will be presented. These will show that HMS enables a reasonable sound design process. With these control mechanisms it is possible to design and produce in a predictable and controllable manner a variety of timbres. Some of these timbres are imitations of sounds produced by acoustic means and others are novel. All the sounds obtained present dynamic features and many of them, including some of those that are novel, retain important characteristics of sounds produced by acoustic means