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dc.contributor.authorLogan, Sam
dc.date.accessioned2013-12-20T00:36:46Z
dc.date.available2013-12-20T00:36:46Z
dc.date.issued2013
dc.identifier.urihttp://hdl.handle.net/10179/4984
dc.description.abstractThe practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer. It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments. These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.en
dc.language.isoenen
dc.publisherMassey Universityen_US
dc.rightsThe Authoren_US
dc.subjectComposition (Music)en
dc.subjectTechnological innovationsen
dc.subjectSounden
dc.subjectRecording and reproducingen
dc.subjectMusicalsen
dc.subjectProduction and directionen
dc.subjectMusicen
dc.subjectPhilosophy and aestheticsen
dc.titleIllusions of liveness : producer as composer : an exegesis submitted to Massey University and Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Musical Arts In Compositionen
dc.typeThesisen
thesis.degree.disciplineCompositionen
thesis.degree.grantorMassey Universityen
thesis.degree.levelMastersen
thesis.degree.nameMaster of Musical Arts (M.M.A.)en


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