Grandchildren of Experimental Music - Performing the Compositional Act by Creating Intriguing Situations in Which Musical Sound May Occur

Ingamells, Andrew Thomas (2018) Grandchildren of Experimental Music - Performing the Compositional Act by Creating Intriguing Situations in Which Musical Sound May Occur. Doctoral thesis, Birmingham City University.

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INGAMELLS, A.T. - PhD Commentary.pdf

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INGAMELLS, A.T. - PhD Portfolio.pdf

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01 Sound of a Marathon.m4v

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02 Shh.m4v

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03 Having never seen (a) Ghost.m4v

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04 I WANT YOU.m4v

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05 Squashing.m4v

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06 BBC Radio Luck.m4v

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07 Composing Music for 11 minutes dressed in 18th Century costume.m4v

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08 Waschen.m4v

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09 Bowmanship.m4v

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10 Packaged Pleasure.m4v

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11 SURPRISE PERFORMANCE.m4v

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12 Locational Aesthetics.m4v

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13 EU-ligans.m4v

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14 He that plays the English Gentleman shall be welcome (1).m4v

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15 He that plays the English Gentleman shall be welcome (2).m4v

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16 He that plays the English Gentleman shall be welcome (3).m4v

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17 In which we went looking for one thing and found another.m4v

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18 Up Down Left Right.mp4

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19 A Song.m4v

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Abstract

This portfolio of work explores alternative methods of musical composition that question the distinction between composer and performer, presenting an integrated and interdisciplinary artistic approach that aims to engage a broader public in the production of experimental music. The seventeen pieces in the portfolio are playful outcomes of a practice that, whilst rooted in musical concerns, does not privilege the sounding result.

In the accompanying commentary the heritage of experimental music and Fluxus is used as a starting point to reconsider the traditionally separate roles of composer and performer. I assert that these roles currently remain distinct and separate in contemporary practice, despite the challenge that experimental music and Fluxus posed to conventional music-making. In order to address this I reconfigure the relationships between composer, performer and listener through an interpretation of a diagram by experimental composer George Brecht, and develop a framework in which the act of composition can be performed through ‘reading’, ‘character’ and ‘playing’.

Item Type: Thesis (Doctoral)
Additional Information: First and foremost I would like to thank Tiffany Slater for her love and support throughout this project. I would also like to thank Michael Wolters, Howard Skempton and Ron Woodley for supervising me, and Ed Bennett, Mel Brimfield and Laurence Crane for being my examiners. I am grateful to my family, and to the following people (in alphabetical order) who have shaped this project in many different ways: Andrew Hamilton, Bill Drummond, Chris Dingle, Claire Doherty, David Pocknee, Ed McKeon, Edward Henderson, Eoghan McTigue, Errollyn Wallen, Gavin Friday and the Bristol Citadel Corps, Gavin Wade, Georgina Bolton, Jennifer Walshe, Joe Cutler, Josh Spear, Louis d’Heudieres, Ludwig Abraham, Maya Verlaak, Michael Baldwin, Neil Luck, Oli Clark, Patrick Giguère, Paul Norman, Richard Stenton, Seán Clancy, Steven Takasugi, Susan Philipsz, Tadas Stalyga, Tim Cape. Finally, thank you to the Arts and Humanities Research Council for financial support via the Midlands3Cities Doctoral Training Partnership.
Uncontrolled Keywords: Experimental Music, performance, composition, George Brecht, contemporary music, composer-performer, interdisciplinary
Subjects: W300 Music
W400 Drama
W600 Cinematics and Photography
Divisions: REF UoA Output Collections > Doctoral Theses Collection
Depositing User: Kip Darling
Date Deposited: 11 Mar 2019 14:50
Last Modified: 11 Mar 2019 14:50
URI: http://www.open-access.bcu.ac.uk/id/eprint/7196

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