Momentum is an experiential, cumulative music composition and blogging project, conducted throughout 2012. For 366 consecutive days I collected and recorded sonic material that comprised musical and non-musical field recordings, intentional and incidental found sounds, snippets of musical works, and improvisations. I then sculpted and layered the recordings utilising a digital audio workstation and an arsenal of audio editing tools. The outcome is a four hour-long sound-art work. I invited contributions to the project, and as a result more than 60 people from all over the world collaborated on Momentum, providing recordings to be included in the project.
Conference Paper, Australasian Computer Music Conference - Melbourne, July 2014
This presentation focuses on one specific area of my research, that of harmony with audience, encompassing the participatory nature of Momentum, and the open and transparent way in which each of the projects was created. The joining together of sounds, sonic environments, experiences, skills, artists, and audience throughout each of the Momentum projects promoted dialogue, feedback and collaboration.
This research investigates the collaborative processes that occur when new creative work is born, with a particular focus on musical collaborations. This thesis is based upon the responses to interviews that were conducted with 25 artists currently engaged in professional collaborative arts practice. Each artist was asked to define collaboration, then to give details of past collaborative experiences. All of the artists’ answers and experiences varied, but there were three areas that were of particular interest to all of the participants. These were: the relevance (if any) of rapport within collaborative arts practice, the role of the individual in collaborations, and the place of leadership in collaborations. This thesis shows that many of the artists involved in this study valued some kind of personal rapport within a collaborative project. A number of the artists claimed that it was not possible to separate artistic and personal rapport, and that they only wished to work with artists with whom they had that kind of rapport. But in the absence of a close personal relationship many of the participants in this study valued mutual respect, openness and understanding of personal differences within collaborative processes. Each artist had different experiences of the roles of the individual and of leadership within collaborative projects.
This dissertation takes the form of an annotated catalogue of percussion works incorporating text and/or movement. The topic grew out of my own personal experience in performance of percussion repertoire with prescribed motion, spoken word, dance and/or singing. As a student and performer with a particular interest in such works I found it difficult to access comprehensive sources of information regarding this literature. The purpose of my Honours Thesis is therefore to provide better access to information on this kind of repertoire for both percussion students and professionals.