Please use this identifier to cite or link to this item: http://buratest.brunel.ac.uk/handle/2438/6438
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dc.contributor.advisorFox, C-
dc.contributor.advisorBirringer, J-
dc.contributor.authorWilkins, Caroline-
dc.date.accessioned2012-05-16T13:03:31Z-
dc.date.available2012-05-16T13:03:31Z-
dc.date.issued2011-
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/6438-
dc.descriptionThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.en_US
dc.description.abstractThe body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation.en_US
dc.language.isoenen_US
dc.publisherBrunel University School of Arts PhD Theses-
dc.relation.ispartofSchool of Arts-
dc.relation.urihttp://bura.brunel.ac.uk/bitstream/2438/6438/6/FulltextThesis.pdf-
dc.relation.urihttp://bura.brunel.ac.uk/bitstream/2438/6438/5/PPPPPPcomplete.score.pdf-
dc.relation.urihttp://bura.brunel.ac.uk/bitstream/2438/6438/4/Interweave-complete.score.pdf-
dc.relation.urihttp://bura.brunel.ac.uk/bitstream/2438/6438/3/complete.score%2cZaum-Beyond.Mind.pdf-
dc.relation.urihttp://bura.brunel.ac.uk/bitstream/2438/6438/1/complete.score%2cPhonurgia.pdf-
dc.subjectSound theatreen_US
dc.subjectDigital instrumentsen_US
dc.subjectOld and new mediaen_US
dc.subjectObject-beingsen_US
dc.subjectPerformative practiceen_US
dc.titleThe instrument in space: The embodiment of music in the machine ageen_US
dc.typeThesisen_US
Appears in Collections:Music
Dept of Arts and Humanities Theses

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complete.score,Phonurgia.pdf723.4 kBAdobe PDFView/Open
complete.score,Zaum-Beyond.Mind.pdf889.38 kBAdobe PDFView/Open
Interweave-complete.score.pdf902.23 kBAdobe PDFView/Open
PPPPPPcomplete.score.pdf1.26 MBAdobe PDFView/Open
FulltextThesis.pdf2.81 MBAdobe PDFView/Open


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