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Outline

Title
Abstract
Introduction
Important Aspects of My Compositional Method
The Elaboration of Sound Materials
The Sound Materials
Conclusion
References
All Topics
Languages and Linguistics
Language Acquisition

Multi-form Visualisation: An approach to acousmatic composition

Profile image of Virginie C . M . VielVirginie C . M . Viel

2018

Abstract

This practice-based doctoral research addresses a critical issue in acousmatic composition: the journey from the immaterial world of sonic imagination to the realisation of musical sound. This was an exploratory journey, where my personal sensibility for visual arts practice met my curiosity and profound interest in acousmatic music. Methodologically, the project approached acousmatic composition as an organic process, intertwining visual sensibilities and musical domains by offering a critical approach to the listening experience and to my compositional practice. A key metaphor used is that of the blank page as a space for multi-form visualisation, where gestures derived from sketching and other visual stimuli are used as guides and catalysts for the realisation of sound. In this approach, a process of deliberately blurring boundaries between real and imaginary realms affords a space to daydream to be moved by sounds, the flow of mental images, virtual sensations, and memory-images that one can associate with traces, dots, shapes or textures. This parallel allows me to find my way within the sonic realm, shaping sound materials and sequences that progressively define a musical structure. This space, which has no proper physical existence, invites sonic and visual perception and imagination to confront, destroy and renew each another, directing the music's emergence through a feedback loop between the visual and the aural. A key conceptual tool in this practice is the notion of sensory qualia and a blend of phenomenological and ecological views of sound and bodily centered, internally registered responses. By focusing on qualitative sensations derived from drawing, painting and sensations of motion in the natural world, parallels with the sonic imagination are stimulated. The graphical expression of gestures deployed in space and time becomes a space of boundless, imaginative reflection of the composer's sonic conceptions and expectations. First and foremost I would like to express my profound gratitude to my thesis supervisors John Young and Pete Batchelor, for their continuous guidance and presence, their invaluable critique and support throughout my PhD journey. This research would not have been possible without the assistance of the doctoral scholarship offered by DMU Graduate School. I would like to extend my appreciation to the MTI 2 Institute of Sonic Creativity and its members for their presence, advice and the various opportunities given to me to present my research in foreign institutions with the support of #DMUGlobal. I am particularly grateful to Leigh Landy and James Andean for their precious advice. Then, I would like to thank Robert Normandeau for his invitation to compose a piece in the studios of the Université de Montréal (2016) and Theordoros Lotis for allowing me to undertake an Erasmus + Exchange (2016-7) in the Music Department at the Ionian University of Corfu. Their expertise and insightful critique was extremely valuable. I would like to thank VICC for inviting me to compose the last piece of my portfolio in Visby. I would like to express my deepest gratitude my family, Thérèse and Jean-Luc,

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