Manuella Blackburn | Keele University (original) (raw)

Papers by Manuella Blackburn

Sound Studies, Jan 21, 2024

This article documents the creation and distribution of a new sample pack, Instruments INDIA, as ... more This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said’s model of Orientalism and Stuart Hall’s theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future.

Sound Studies, 2024

This article documents the creation and distribution of a new sample pack, Instruments INDIA, as ... more This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said’s model of Orientalism and Stuart Hall’s theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future.

Organised Sound, Aug 1, 2019

This article specifically addresses electroacoustic music compositions that borrow from existing ... more This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of 'cut and paste' as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author takes on this issue and proposes a new framework for categorising borrowings as a helpful aid for others looking to sample in new compositional work, as well as for further musicological study. The article will consider the compositional process of integration and reworking of borrowed material, using a repertoire study to showcase the variety of techniques in play when sound materials change hands, composer to composer. Terminology already in use by others to describe sound borrowing in electroacoustic music will be investigated in an effort to show the multitude of considerations and components in action when borrowing takes place. Motivations for borrowing, borrowing types, borrowing durations, copying as imitation, and composers' reflections upon borrowing will all be considered within the article, along with discussions on programmatic development and embedding techniques. At the heart of this article, the author aims to show how widespread and pervasive borrowing is within the electroacoustic repertoire by drawing attention to varieties of sound transplants, all considered as acts of borrowing.

Finding the Female Users: A Feminist Historiography of the Fairlight CMI, Jul 25, 2022

Working with short soundfiles en masse in the fields of fixed media (acousmatic) and mixed music ... more Working with short soundfiles en masse in the fields of fixed media (acousmatic) and mixed music (instruments and electronics) has raised questions regarding useful assemblage and handling techniques. This paper traces out some different processes and systems that are currently in circulation to automate and assist in such sonic distributions. A number of personalised techniques for sound organisation of breif sounds have surfaced in the author's own outputs in response to working with short sound en masse for many years. Using excerpts from my own fixed media works; Ice Breaker (2015), Snap Happy (2017) and Landline (2018), this paper will reveal how new modes of micro-montage can assist in marking out structure and referencing in music making. The techniques , applications and compositional aesthetic of mi-cro-time and micro-montage, first articulated by Vag-gione (1994) as observed by Roads (2005) will be discussed and used as a springboard into new compositional methodologie...

When ice is placed into a glass of water it cracks and pops due to the phenomenon known as differ... more When ice is placed into a glass of water it cracks and pops due to the phenomenon known as differential expansion. Because the water is warmer than the ice, the outer layer of the ice expands and fractures while the core stays cool. This micro-scale cracking was captured with tiny microphones inserted into tall drinks glasses and provided the concept for this composition. Additional sounds of effervescence, bubbling and pouring liquids were recorded to accompany the smaller ice sounds. Ice breaker follows on from my earlier works Switched on (2011) and Time will tell (2013) that both explore the use of small sounds within an acousmatic context. New techniques for clustering small ice sounds were explored in this work along with Horacio Vaggione’s concept of micromontage. Ice breaker was realized in the summer of 2015 at the composer’s studio in Manchester (England, UK) and premiered on October 23, 2015 during the L’Espace du son festival at Théâtre Marni in Brussels (Belgium). Ice b...

Javaari is the term given to the bridge of the sitar where the melodic and sympathetic strings ru... more Javaari is the term given to the bridge of the sitar where the melodic and sympathetic strings run and create the sound. The term also refers to the unique buzzing tone produced by the sitar. This piece explores these fascinating timbres originating from this instrument and pays particular attention to the beautiful pitch bends that arch over and under like vocal melismas. The work is structured into four episodes, each exploring a different intensity of explicit cultural sound use — often the sitar material is in the fore and sometimes it recedes or pokes through intermittently. Javaari was realized at the Visby International Centre for Composers (VICC, Sweden) and at Liverpool Hope University (England, UK). This acousmatic work is the first in a series of pieces composed in collaboration with Milapfest based at Liverpool Hope University. The yearlong project aims to examine the translation and transference of cultural sound to electroacoustic music and is funded by the Arts and Hum...

In the same way that a shruti box or tampura provides the supporting drone for many Indian Classi... more In the same way that a shruti box or tampura provides the supporting drone for many Indian Classical music performances, my composition seeks to create a complementary line for the sarod material within the piece. Derived from recordings of sarod, sitar, veena, violin, tanpura, swarmandal and ghungroo ankle bells, New Shruti forms a montage from all these sounds while exploring the possibilities of sound transformations common to electroacoustic music. In places the work goes beyond just a drone function — it aims to instigate, provoke, and energize the sarod material through three main sections (i) glitch and crackle (ii) pitch curves and (iii) minor slow section. Through creating this work I have discovered the beauty of both the timbres of Indian instrumental sounds, and also stylistic features commonly associated with the tradition and performance practice such as gamakas (pitch bends) and tihai rhythmic cadences. Interpreting and reworking these features into my own music langu...

Snap happy is a collection of three miniatures exploring the sounds of cameras. Older cameras fro... more Snap happy is a collection of three miniatures exploring the sounds of cameras. Older cameras from around the 1940s (Kodak Brownie cameras) provided heavier clicks and clunks from their internal mechanisms. Contemporary cameras provided sounds of flashes, zooms, digital functions and focus lenses. All these sounds tended to be short in duration, enabling me to continue my interest in building compositions from miniature, barely there sound materials. Listening to many cameras demonstrated how distinctive different brands could be. I became acquainted with the Canon AE-1 program, which appeared to ‘cough’ with each photo taken. It was fascinating to listen to modern cameras (including camera functions on phones), which use camera shutter sound effects to indicate the taking of a ‘snap shot.’ Older functions of winding a camera film, opening up a camera back and cartridge chamber, along with winding mechanisms are sounds that feature in this work. This composition is part of a series ...

Organised Sound, 2019

This article specifically addresses electroacoustic music compositions that borrow from existing ... more This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of ‘cut and paste’ as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however, borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author tak...

Organised Sound, 2014

This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creatio... more This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's lea...

Sourcing sound materials from distant and foreign locations has become a relatively common and el... more Sourcing sound materials from distant and foreign locations has become a relatively common and elementary practice for the electroacoustic music composer to engage with. The ease and frequency of traveling has been responsible, in part, widening the availability of sound choice and collection and in turn providing a vast "acoustic palette as wide as that of the environment itself" 1. This practice of cross-cultural sound sourcing may be understood by our attraction to the exotic, and the unadulterated soundworld sonic souvenirs can yield. The need for originality as a consideration for the electroacoustic music composer can be addressed through seeking out new and unique sound materials in this way.

Organised Sound, 2011

Since its conception, Denis Smalley's spectromorphology has equipped listeners and practition... more Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive application. Spectromorphology's influence has been far reaching, inciting approaches to electroacoustic music analysis (Thoresen 2007), notation (Patton 2007), composition and education through its flexible functionality and accessible pool of vocabulary.

marioverandi.de

2. The author acknowledges the variety of definitions for “culture”. From here onwards, culture r... more 2. The author acknowledges the variety of definitions for “culture”. From here onwards, culture refers to a society where a system of shared beliefs, customs and behaviours exist within an environment. ... 3. Rodolfo Caesar (1992) cited in Landy and Atkinson.

Website: https://www.milapfest.com/instruments-india/, 2013

Penggunaan limbah tanaman jagung merupakan salah satu alternatif terbaik dalam mengatasi tingginy... more Penggunaan limbah tanaman jagung merupakan salah satu alternatif terbaik dalam mengatasi tingginya angka kebutuhan pakan ternak. Masalah utama pada penggunaan tongkol jagung sebagai pakan ternak sapi adalah cara pengolahannya untuk menghasilkan partikelpartikel kecil untuk pakan ternak dengan hasil yang lebih cepat. Mesin pencacah tongkol jagung untuk pakan ternak diharapkan dapat menghasilkan partikel-partikel tongkol jagung yang dapat menjadi campuran pakan ternak. Hasil uji kinerja mesin pencacah tongkol diperoleh kapasitas alat adalah 143,47 kg/jam, laju pengumpanan 144,92 kg/jam dengan bahan bakar yang digunakan 0,188 liter/jam. Hasil analisa ekonomi teknik diperoleh biaya tetap Rp. 2.057.058 /tahun, biaya tidak tetap Rp.16.290/jam dan break event point (BEP) untuk pengoperasionalan alat 5.322 kg/jam.

The starting point for much electroacoustic music is the capture of audio from the sounding world... more The starting point for much electroacoustic music is the capture of audio from the sounding world around us. Recorded sound (field and studio recordings) provides the composer with pliable audio data, inspiration and impetus for the creation of new work. The content of these audio files varies widely to include sounds from musical instruments, inanimate objects, spoken languages and environmental landscapes. Composers working in the field of electroacoustic music and all its associated formats and subgenres (soundscape, live laptop improvisation, acousmatic and noise-based to name a few) are reliant on the presence of audio, whether it be from synthesized or recorded sources, in order to move forward with a new work. Sound’s fundamentality to the composition of electroacoustic music is clearly understood within this discourse, but what is less clear and defined are the finer details relating to external sound sourcing, especially when the composer looks beyond their own materials, t...

This commentary details the methods and ideas involved in creating the seven portfolio works. The... more This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester.The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley?s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awa...

Carrying out an analysis of Diana Salazar’s acousmatic music work, La voz del fuelle is an attemp... more Carrying out an analysis of Diana Salazar’s acousmatic music work, La voz del fuelle is an attempt to identify the various compositional strategies involved when cultural sounds become source material for creative work. An analysis of where this iconic sound material appears may help shed light on how a composer can both borrow and embed culturally identifable sound material within the more abstract sonic milieu most typical to the acousmatic genre. Understanding how a composer has placed cultural symbols, well-known motifs, and sometimes whole passages of existing music into a new piece of sonic art is a worthy subject for analysis so as to demonstrate the evolution of existing musical ideas as well as the composer’s prowess in gaining ownership over something borrowed. Salazar’s La voz del fuelle engages with the concept of the ‘sonic souvenir’ , integrating many musical samples borrowed from a foreign culture. Analysing the work’s intricate integration of identifiable cultural ma...

Sound Studies, Jan 21, 2024

This article documents the creation and distribution of a new sample pack, Instruments INDIA, as ... more This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said’s model of Orientalism and Stuart Hall’s theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future.

Sound Studies, 2024

This article documents the creation and distribution of a new sample pack, Instruments INDIA, as ... more This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said’s model of Orientalism and Stuart Hall’s theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future.

Organised Sound, Aug 1, 2019

This article specifically addresses electroacoustic music compositions that borrow from existing ... more This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of 'cut and paste' as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author takes on this issue and proposes a new framework for categorising borrowings as a helpful aid for others looking to sample in new compositional work, as well as for further musicological study. The article will consider the compositional process of integration and reworking of borrowed material, using a repertoire study to showcase the variety of techniques in play when sound materials change hands, composer to composer. Terminology already in use by others to describe sound borrowing in electroacoustic music will be investigated in an effort to show the multitude of considerations and components in action when borrowing takes place. Motivations for borrowing, borrowing types, borrowing durations, copying as imitation, and composers' reflections upon borrowing will all be considered within the article, along with discussions on programmatic development and embedding techniques. At the heart of this article, the author aims to show how widespread and pervasive borrowing is within the electroacoustic repertoire by drawing attention to varieties of sound transplants, all considered as acts of borrowing.

Finding the Female Users: A Feminist Historiography of the Fairlight CMI, Jul 25, 2022

Working with short soundfiles en masse in the fields of fixed media (acousmatic) and mixed music ... more Working with short soundfiles en masse in the fields of fixed media (acousmatic) and mixed music (instruments and electronics) has raised questions regarding useful assemblage and handling techniques. This paper traces out some different processes and systems that are currently in circulation to automate and assist in such sonic distributions. A number of personalised techniques for sound organisation of breif sounds have surfaced in the author's own outputs in response to working with short sound en masse for many years. Using excerpts from my own fixed media works; Ice Breaker (2015), Snap Happy (2017) and Landline (2018), this paper will reveal how new modes of micro-montage can assist in marking out structure and referencing in music making. The techniques , applications and compositional aesthetic of mi-cro-time and micro-montage, first articulated by Vag-gione (1994) as observed by Roads (2005) will be discussed and used as a springboard into new compositional methodologie...

When ice is placed into a glass of water it cracks and pops due to the phenomenon known as differ... more When ice is placed into a glass of water it cracks and pops due to the phenomenon known as differential expansion. Because the water is warmer than the ice, the outer layer of the ice expands and fractures while the core stays cool. This micro-scale cracking was captured with tiny microphones inserted into tall drinks glasses and provided the concept for this composition. Additional sounds of effervescence, bubbling and pouring liquids were recorded to accompany the smaller ice sounds. Ice breaker follows on from my earlier works Switched on (2011) and Time will tell (2013) that both explore the use of small sounds within an acousmatic context. New techniques for clustering small ice sounds were explored in this work along with Horacio Vaggione’s concept of micromontage. Ice breaker was realized in the summer of 2015 at the composer’s studio in Manchester (England, UK) and premiered on October 23, 2015 during the L’Espace du son festival at Théâtre Marni in Brussels (Belgium). Ice b...

Javaari is the term given to the bridge of the sitar where the melodic and sympathetic strings ru... more Javaari is the term given to the bridge of the sitar where the melodic and sympathetic strings run and create the sound. The term also refers to the unique buzzing tone produced by the sitar. This piece explores these fascinating timbres originating from this instrument and pays particular attention to the beautiful pitch bends that arch over and under like vocal melismas. The work is structured into four episodes, each exploring a different intensity of explicit cultural sound use — often the sitar material is in the fore and sometimes it recedes or pokes through intermittently. Javaari was realized at the Visby International Centre for Composers (VICC, Sweden) and at Liverpool Hope University (England, UK). This acousmatic work is the first in a series of pieces composed in collaboration with Milapfest based at Liverpool Hope University. The yearlong project aims to examine the translation and transference of cultural sound to electroacoustic music and is funded by the Arts and Hum...

In the same way that a shruti box or tampura provides the supporting drone for many Indian Classi... more In the same way that a shruti box or tampura provides the supporting drone for many Indian Classical music performances, my composition seeks to create a complementary line for the sarod material within the piece. Derived from recordings of sarod, sitar, veena, violin, tanpura, swarmandal and ghungroo ankle bells, New Shruti forms a montage from all these sounds while exploring the possibilities of sound transformations common to electroacoustic music. In places the work goes beyond just a drone function — it aims to instigate, provoke, and energize the sarod material through three main sections (i) glitch and crackle (ii) pitch curves and (iii) minor slow section. Through creating this work I have discovered the beauty of both the timbres of Indian instrumental sounds, and also stylistic features commonly associated with the tradition and performance practice such as gamakas (pitch bends) and tihai rhythmic cadences. Interpreting and reworking these features into my own music langu...

Snap happy is a collection of three miniatures exploring the sounds of cameras. Older cameras fro... more Snap happy is a collection of three miniatures exploring the sounds of cameras. Older cameras from around the 1940s (Kodak Brownie cameras) provided heavier clicks and clunks from their internal mechanisms. Contemporary cameras provided sounds of flashes, zooms, digital functions and focus lenses. All these sounds tended to be short in duration, enabling me to continue my interest in building compositions from miniature, barely there sound materials. Listening to many cameras demonstrated how distinctive different brands could be. I became acquainted with the Canon AE-1 program, which appeared to ‘cough’ with each photo taken. It was fascinating to listen to modern cameras (including camera functions on phones), which use camera shutter sound effects to indicate the taking of a ‘snap shot.’ Older functions of winding a camera film, opening up a camera back and cartridge chamber, along with winding mechanisms are sounds that feature in this work. This composition is part of a series ...

Organised Sound, 2019

This article specifically addresses electroacoustic music compositions that borrow from existing ... more This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of ‘cut and paste’ as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however, borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author tak...

Organised Sound, 2014

This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creatio... more This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's lea...

Sourcing sound materials from distant and foreign locations has become a relatively common and el... more Sourcing sound materials from distant and foreign locations has become a relatively common and elementary practice for the electroacoustic music composer to engage with. The ease and frequency of traveling has been responsible, in part, widening the availability of sound choice and collection and in turn providing a vast "acoustic palette as wide as that of the environment itself" 1. This practice of cross-cultural sound sourcing may be understood by our attraction to the exotic, and the unadulterated soundworld sonic souvenirs can yield. The need for originality as a consideration for the electroacoustic music composer can be addressed through seeking out new and unique sound materials in this way.

Organised Sound, 2011

Since its conception, Denis Smalley's spectromorphology has equipped listeners and practition... more Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive application. Spectromorphology's influence has been far reaching, inciting approaches to electroacoustic music analysis (Thoresen 2007), notation (Patton 2007), composition and education through its flexible functionality and accessible pool of vocabulary.

marioverandi.de

2. The author acknowledges the variety of definitions for “culture”. From here onwards, culture r... more 2. The author acknowledges the variety of definitions for “culture”. From here onwards, culture refers to a society where a system of shared beliefs, customs and behaviours exist within an environment. ... 3. Rodolfo Caesar (1992) cited in Landy and Atkinson.

Website: https://www.milapfest.com/instruments-india/, 2013

Penggunaan limbah tanaman jagung merupakan salah satu alternatif terbaik dalam mengatasi tingginy... more Penggunaan limbah tanaman jagung merupakan salah satu alternatif terbaik dalam mengatasi tingginya angka kebutuhan pakan ternak. Masalah utama pada penggunaan tongkol jagung sebagai pakan ternak sapi adalah cara pengolahannya untuk menghasilkan partikelpartikel kecil untuk pakan ternak dengan hasil yang lebih cepat. Mesin pencacah tongkol jagung untuk pakan ternak diharapkan dapat menghasilkan partikel-partikel tongkol jagung yang dapat menjadi campuran pakan ternak. Hasil uji kinerja mesin pencacah tongkol diperoleh kapasitas alat adalah 143,47 kg/jam, laju pengumpanan 144,92 kg/jam dengan bahan bakar yang digunakan 0,188 liter/jam. Hasil analisa ekonomi teknik diperoleh biaya tetap Rp. 2.057.058 /tahun, biaya tidak tetap Rp.16.290/jam dan break event point (BEP) untuk pengoperasionalan alat 5.322 kg/jam.

The starting point for much electroacoustic music is the capture of audio from the sounding world... more The starting point for much electroacoustic music is the capture of audio from the sounding world around us. Recorded sound (field and studio recordings) provides the composer with pliable audio data, inspiration and impetus for the creation of new work. The content of these audio files varies widely to include sounds from musical instruments, inanimate objects, spoken languages and environmental landscapes. Composers working in the field of electroacoustic music and all its associated formats and subgenres (soundscape, live laptop improvisation, acousmatic and noise-based to name a few) are reliant on the presence of audio, whether it be from synthesized or recorded sources, in order to move forward with a new work. Sound’s fundamentality to the composition of electroacoustic music is clearly understood within this discourse, but what is less clear and defined are the finer details relating to external sound sourcing, especially when the composer looks beyond their own materials, t...

This commentary details the methods and ideas involved in creating the seven portfolio works. The... more This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester.The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley?s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awa...

Carrying out an analysis of Diana Salazar’s acousmatic music work, La voz del fuelle is an attemp... more Carrying out an analysis of Diana Salazar’s acousmatic music work, La voz del fuelle is an attempt to identify the various compositional strategies involved when cultural sounds become source material for creative work. An analysis of where this iconic sound material appears may help shed light on how a composer can both borrow and embed culturally identifable sound material within the more abstract sonic milieu most typical to the acousmatic genre. Understanding how a composer has placed cultural symbols, well-known motifs, and sometimes whole passages of existing music into a new piece of sonic art is a worthy subject for analysis so as to demonstrate the evolution of existing musical ideas as well as the composer’s prowess in gaining ownership over something borrowed. Salazar’s La voz del fuelle engages with the concept of the ‘sonic souvenir’ , integrating many musical samples borrowed from a foreign culture. Analysing the work’s intricate integration of identifiable cultural ma...

Equality, Diversity & Inclusion Engagement Fellowship Pilot AHRC Funding Scheme Report 2020-2022, 2022

In 2020, the Arts and Humanities Research Council (AHRC) launched a new pilot funding call for Fe... more In 2020, the Arts and Humanities Research Council (AHRC) launched a new pilot funding call for Fellowships aimed at arts and humanities researchers whose work was both of outstanding quality and contained a significant Equality, Diversity and Inclusion (ED&I) dimension. In 2021, the AHRC commissioned an evaluation of the EDI Engagement Fellowships. his report provides an assessment and commentary on the AHRC’s 2020—2022 Equality, Diversity and Inclusion Engagement Fellowship (EDIEF) pilot observing the successes, challenges, and benefits of its existence during its first iteration. The report aims to support subsequent rounds of EDIEF funding by highlighting lessons learned from the application process and the awarded projects so that improvements can be made to future calls.

The research for this report sought out and engaged a variety of stakeholders including applicants, award holders, research assistants, project partners, and AHRC colleagues, to comment on the processes the AHRC has for welcoming applications, reviewing proposals, awarding funding, and project delivery support. These voices (many of which are from underrepresented groups and have EDI expertise either professionally or through lived experience) have contributed to the below recommendations so that the EDIEF pilot can evolve effectively and support mainstreaming of innovations in other AHRC activities.