City Research Online

Abstract

In this dissertation I seek to explain the aesthetic and technical rationale behind the portfolio of scores and recordings which it accompanies. This body of works is preoccupied with illusion in several guises. While peripherally examining optical illusions and drawing inspiration from them, I attempted to use structures and principles found in performance magic to aid my composing with psychoacoustic illusions. This dissertation describes the process of composing in such a manner and identifies the problems, challenges, strategies, aesthetic notions and musical philosophies that arose from compositionally engaging aural illusions.

The first chapter defines what is meant by illusion within the context of this research project and sets out my research questions. The second surveys existing research on psychoacoustic illusions and performance magic, while also discussing instances where psychoacoustic illusions have been adapted into compositional contexts. These existing adaptations are evaluated according to how palpable the adapted illusion is within the context of the piece, the manner in which the illusion’s effect is communicated to the listener, and the imagination with which the illusion is musically adapted. In this chapter, it is shown how these evaluations impacted upon my approach to illusion and the ways in which I as a result felt that current compositional adaptations might be improved. In the third chapter, the submitted pieces are analysed and assessed by the standards formulated in the second chapter. The ways in which the works were crafted are explained, along with the research intentions that I was attempting to enact by crafting the pieces in such a way. The lessons I learned from the compositional process of each piece is also documented in this chapter. In the fourth and final chapter, the whole research enterprise is contextualised and evaluated. My research goals are reviewed and the evolution of my changing approach to compositional illusion is illustrated.

It is my hope that this thesis may shine a light on some of the curiosities which live in the loopholes of our perceptual faculties; share methods of adapting psychoacoustic illusions into compositional contexts; draw previously undrawn parallels between the practises of performance magic and music; and inspire wonder and awe in the amazing phenomena which constantly surround us.

Audio (After Images - recording) - Accepted Version
Download (188MB)

Audio (Georgimorphosis - recording) - Accepted Version
Download (252MB)

Audio (Jab (Ben Smith performance) - recording) - Accepted Version
Download (303MB)

Audio (Jab (player piano approximation) - recording) - Accepted Version
Download (126MB)

Preview

Text (After images - musical score) - Accepted Version
Download (1MB) | Preview

Preview

Text (Georgimorphosis - musical score) - Accepted Version
Download (625kB) | Preview

Preview

Text (Ghoulish Airs - musical score) - Accepted Version
Download (1MB) | Preview

Preview

Text (Jab - musical score) - Accepted Version
Download (683kB) | Preview

Preview

Text (Jing - musical score) - Accepted Version
Download (1MB) | Preview

Preview

Text (Witherbud - musical score) - Accepted Version
Download (1MB) | Preview

Preview

Text (Commentary) - Accepted Version
Download (14MB) | Preview

Preview

Text (An interview with a "puppet" and his "maker" - musical score) - Accepted Version
Download (4MB) | Preview

Export

Downloads