dc.contributor.advisor | Schippers, Huib | |
dc.contributor.author | Blackburn, Andrew | |
dc.date.accessioned | 2018-08-31T04:52:33Z | |
dc.date.available | 2018-08-31T04:52:33Z | |
dc.date.issued | 2011 | |
dc.identifier.doi | 10.25904/1912/1077 | |
dc.identifier.uri | http://hdl.handle.net/10072/366570 | |
dc.description.abstract | The emergence of music for organ and realtime digital signal processing (dsp) has
signalled major changes to the very nature and structure of music for the instrument,
dramatically expanding its idiom and timbral malleability. It has also created new
performance practices which mark substantial shifts in the relationship of the organist
with the music, the instrument, and with co-performers. Finally, a new 'performative
space' is emerging through organ and realtime dsp in concert situations, creating a
sonic relocation of the instrument and enabling new audience experiences.
This DMA examines organ and realtime digital signal processing (dsp) from a
performer’s perspective.
After tracing the history of the organ as an instrument at the forefront of musical
innovation since the 1400s, it focuses on rapid developments over the past fifty
years, leading to organ and dsp as a logical next step in the development and
repertoire of the instrument. From there, the study revolves around the performance
of four contemporary works for pipe organ with realtime dsp, contributing to
understanding the performance practices this combination requires.
Emphasising the experience of the organist facilitates reflection on the impact of
changes brought about by dsp on the practice of a contemporary organist and his
collaborators. In this way, this practice-led research project is able to focus on ‘realworld’
issues and insights that emerged and morphed during workshops and
performances.
Triangulating the findings of a literature review, interviews, workshops, and the series
of performances, identifies major shifts in organ timbre, composition, performance
practice and reception. The format of the submission, on DVD ROM, highlights the
close connection between practice and reflection, between sounds and words. In
doing so, it aims to add to the practice and understanding of the organ and its
continuing role in innovative composition and performance. | |
dc.language | English | |
dc.publisher | Griffith University | |
dc.publisher.place | Brisbane | |
dc.rights.copyright | The author owns the copyright in this thesis, unless stated otherwise. | |
dc.subject.keywords | Realtime digital signal processing | |
dc.subject.keywords | Organ music | |
dc.subject.keywords | Performative space | |
dc.subject.keywords | Pipe organ performance | |
dc.title | The Pipe Organ and Real-Time Digital Signal Processing (DSP): A Performer's Perspective | |
dc.type | Griffith thesis | |
gro.faculty | Arts, Education and Law | |
gro.description.notepublic | Audio available on request. | |
gro.rights.copyright | The author owns the copyright in this thesis, unless stated otherwise. | |
gro.hasfulltext | Full Text | |
dc.contributor.otheradvisor | Harvey, Lawrence | |
dc.contributor.otheradvisor | Dirie, Gerardo | |
gro.identifier.gurtID | gu1345697558971 | |
gro.source.ADTshelfno | ADT0 | |
gro.source.GURTshelfno | GURT1314 | |
gro.thesis.degreelevel | Thesis (Professional Doctorate) | |
gro.thesis.degreeprogram | Doctor of Musical Arts (DMA) | |
gro.department | Queensland Conservatorium | |
gro.griffith.author | Blackburn, Andrew | |