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Creative Intuition as a Compositional Strategy in Electroacoustic Music

d'Escrivan Rincon, J.C. (1991). Creative Intuition as a Compositional Strategy in Electroacoustic Music. (Unpublished Doctoral thesis, City University London)


Creative Intuition can be said to be the motivating force behind the compositional act. To harness it the composer must develop those musical resources which allow him to deal with inspiration, when it comes, as well as developing the techniques to elaborate upon the inspiration received and remain true to his original vision. In this compositional folio, I have tried to highlight different ways in which I as a composer deal with musical inspiration and the development of musical ideas. For this purpose, I begin by considering the moment in time in which I have had to write the pieces included in this folio, and its impact upon my musical practice. In order to introduce my approach to sound creation, I have included a brief section on timbre creation as composition , here I revise some fundamental concepts and examine the general types of sound used and the methods of synthesis at my disposal. In considering intuition and musical association, I discuss improvisation as a compositional act. In Son del Seis , I am concerned with the composer's improvisation at his instrument and how this influences his writing; In Salta Mortal , I examine improvisation at the computer keyboard, and how it is possible, given the software facilities we have today, to operate directly upon the sounds themselves, and organize them musically, in particular I look at my approach to phrase construction with timbral gestures; In Viaje I combine the instrumental and computer improvisational approaches, dealing with pitched timbral gestures within the harmonic framework of modal jazz. The compositional manipulation of time in electroacoustic music could be seen to present different challenges to the composer than those of traditional acoustic music. In considering the poetics of time in electroacoustic music I have used Sin Ti Par EI Alma Adentro as a starting point for my discussion. In my view, setting words to music presents the composer with an opportunity to impress his own reading of the text material upon the listener, in Sin Medida , I discuss my choices in musically illustrating the three poems used. From the composition of all the pieces in this folio and my speculative explanations, I arrive at a number of concluding ideas and briefly state their relevance to my work: composition away from the traditional manuscript pad; the creative manipulation of timbre using synthesizers and samplers; the establishing of notational conventions for the representation of tape parts; the search for a compositional voice that would express my musical mind specifically in regards to integrating 'non -classical' idioms and electroacoustic sounds. In the appendix I have included my summary of a neo-thomistic notion of art, proposed by J. Maritain, to illustrate the philosophical grounds for my compositional work.

Publication Type: Thesis (Doctoral)
Subjects: M Music and Books on Music > M Music
Departments: School of Communication & Creativity > Performing Arts > Music
School of Communication & Creativity > School of Communication & Creativity Doctoral Theses
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