‘Live’ Electronics: cultivating acoustic organicism within electroacoustic concert music
Within live concert environments, electronic music often lacks the same stage presence and grounding in organic physical phenomena as acoustic concert music, a feature which creates a degree of separation between the performer and the audience.
Researcher: Eric Burton Davis
Through this project, I aim to explore the potential for creating an enhanced and organic audience experience in electroacoustic concert music settings by borrowing models of performance practice from acoustic chamber music.
Potential avenues of exploration include the translation of acoustic gestures through live electronic processing, the incorporation of recognisable organic sonic elements (such as birdsong), and increasing the observable stage presence of the electronic performer in live performance settings.
Alongside this research, I will compose several new works of electronic concert music employing a variety of the strategies discussed above. These pieces will be premiered alongside existing and re-composed works for both live electroacoustic and mixed-media platforms, as well as acousmatic (‘fixed’) media works, in a live concert setting at the Academy.
Image: spectrogram of Colloquy by Eric Burton Davis