Source Bonding, 'Music' and 'Sound in Electroacoustic Composition and The Audiovisual Sound Canvas

Fallon, DJ
(2019) Source Bonding, 'Music' and 'Sound in Electroacoustic Composition and The Audiovisual Sound Canvas. PhD thesis, University of Liverpool.

[img] Text
200462037_Sep2018.pdf - Unspecified

Download (13MB) | Preview
[img] Audio
200462037_Audio1.wav - Unspecified

Download (142MB)
[img] Audio
200462037_Audio2.wav - Unspecified

Download (171MB)
[img] Audio
200462037_Audio3.wav - Unspecified

Download (195MB)
[img] Video - Unspecified

Download (124MB)
[img] Video - Unspecified

Download (327MB)
[img] Video
200462037_Video3.mp4 - Unspecified

Download (90MB)
[img] Audio
200462037_edited(video4)_Audio4.mp3 - Unspecified

Download (17MB)
[img] Video
200462037_Video4 (Embargo).mov - Unspecified
Access to this file is restricted: this item is under permanent embargo.

Download (624MB)
[img] Video
200462037_Video5.mp4 - Unspecified

Download (1GB)
[img] Text
200462037_Readme_ Contents.txt - Unspecified

Download (491B)


Denis Smalley’s theories of Spectromorphology, Source Bonding, and Bonding Play can help us to understand the malleable relationships between sounds and their perceived sources in the context of electroacoustic music, and how these relationships can enrich and be enriched through their application within audiovisual media. (Smalley, D, 1997) These theories interact with the ideas and practices of composers working within fields such as Sonorism and Soundscape Composition in a way that helps to build the concept of an audiovisual sound canvas, adapted from the definition posited by Julio d’Escrivan’s. (d’Escrivan’s, J, 2009) A sound canvas in which sounds generated by musical instruments and all manner of ‘non-musical’ objects and environments may integrate into one aesthetic entity and challenge the conventional distinctions between ‘sound’ or ‘noise’ and ‘music’. A sound canvas, too, in which the expectations and tensions surrounding the abstract, intrinsic properties of sounds, and their extrinsic links to perceived sources may be reinforced, stretched or broken by way of creating, gratifying and undermining a listener’s expectations, thus building and resolving tensions like tonal dissonance and consonance in harmonic music. By weaving such a sound canvas into an audiovisual production one may liberate ‘sound’ beyond naturalistic representation and bring greater depth to the relationships between sounds and sources via the structured, visual representation of sound-making objects. In turn, such a sound canvas may enrich a visual montage and abolish any hierarchy between audiovisual elements, instead fostering aesthetic unity between ‘sound’, ‘music’ and moving image. These ideas are born-out in the portfolio of compositions, which represents the cultivation and realization of this vision in practice.

Item Type: Thesis (PhD)
Divisions: Faculty of Humanities and Social Sciences > School of the Arts
Depositing User: Symplectic Admin
Date Deposited: 23 Aug 2019 08:46
Last Modified: 19 Jan 2023 00:38
DOI: 10.17638/03049104
  • Fairclough, Matthew