Tracking production strategies: Identifying compositional methods in electroacoustic music
In recent years, electroacoustic theorists have drawn attention to the experiences and interpretations of listeners; well-known examples include the writings of Stéphane Roy, Luke Windsor, Christiane Ten Hoopen and Denis Smalley. During the same period, relatively little has been said about the methods and techniques employed by composers during the creation of their works. This article starts by considering some of the reasons why methods have been overlooked within the existing body of literature. It goes on to discuss the existing software tool developed at the University of Sheffield, and explains how this software documents the process chain and affords an interaction with the compositional process. The software is then contextualized within a proposed research project, which aims to further develop the software tools, and deliver a series of complete compositional traces by a number of composers, offering these for compilation and comparison. It finishes by proposing ways in which compositional methods might be identified and analysed.
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Document Type: Research Article
Affiliations: The University of Sheffield
Publication date: December 1, 2013
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- The Journal of Music, Technology and Education (JMTE) explores the issues concerning the use of technology in music education. It examines pedagogy at all levels and across genres such as composition, musicology, performance and music production. It is the only journal specifically dedicated to the educational aspects of music technology and the technological aspects of music. Peer-reviewed, with an international editorial board, JMTE aims to draw its contributions from a broad community of educators, researchers and practitioners who are working closely with new technologies in the fields of music education and music technology education.
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