Foreign Objects and the Art of Interpretation

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Author(s)
Draper, Paul
Griffith University Author(s)
Year published
2009
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This paper reflects upon the practice-based research of its author and collaborators by examining aspects of musical performance and representation in two recording projects. The first of these identifies a research problem in the recorded communication of an 'acousmatic' performance piece. The second project examines the recording of classical piano repertoire in alternate interpretations: one as 'authentic', the other as a highly manipulated work which progresses the investigation of the representation problem through multiple recording techniques and 'DSP orchestration' in post-production. The paper concludes that this ...
View more >This paper reflects upon the practice-based research of its author and collaborators by examining aspects of musical performance and representation in two recording projects. The first of these identifies a research problem in the recorded communication of an 'acousmatic' performance piece. The second project examines the recording of classical piano repertoire in alternate interpretations: one as 'authentic', the other as a highly manipulated work which progresses the investigation of the representation problem through multiple recording techniques and 'DSP orchestration' in post-production. The paper concludes that this then offers a promising route for audiences to experience and reinterpret the music by interrupting their spontaneous assumptions about the recordings.
View less >
View more >This paper reflects upon the practice-based research of its author and collaborators by examining aspects of musical performance and representation in two recording projects. The first of these identifies a research problem in the recorded communication of an 'acousmatic' performance piece. The second project examines the recording of classical piano repertoire in alternate interpretations: one as 'authentic', the other as a highly manipulated work which progresses the investigation of the representation problem through multiple recording techniques and 'DSP orchestration' in post-production. The paper concludes that this then offers a promising route for audiences to experience and reinterpret the music by interrupting their spontaneous assumptions about the recordings.
View less >
Conference Title
Proceedings of the 2nd International Conference on Music Communication Science (ICoMCS)
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Copyright Statement
© The Author(s) 2009. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. For information about this conference please refer to the publisher's website or contact the author.
Subject
Music Performance