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Abstract

This article considers compositional practice in relation to Timothy Morton’s ideas around the hyperobject. The aim is not to analyse compositional practice through the prism of the hyperobject or indeed apply the concept to composition, rather, I allude to Morton’s ideas as a way to think through some aspects of compositional practice. In particular a move away from compositional conventions, such as “the work” or the “singular creator”, which will be discussed in relation to two of my recent projects Auricularis Superior and Decay. Compositional practice for me deals with the situated peculiarity of the human condition, and in a time when our world is changing, it too, must consider these changes and respond. After all, its core material, that of sound, is an unframable hyperobject, made up of human, non-human, animate and unanimate utterances that have existed and will continue to exist beyond human existence.

Publication Type:	Article
Additional Information:	Copyright APRIA 2020.
Publisher Keywords:	Composition, hyperobject, sound
Subjects:	M Music and Books on Music
Departments:	School of Communication & Creativity > Performing Arts > Music
SWORD Depositor:	Symplectic Administrator

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