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dc.contributor.authorDraper, Paul
dc.contributor.authorMillward, Frank
dc.contributor.editorWhiteley, Sheila and Rambarran, S
dc.description.abstractThis article interrogates the processes underpinning the co-creation of musical works by the authors in Australia and the UK who use asynchronous online file exchange both as a research tool and as a creative device. Conventional immediacy is drawn into a histological context when improvised audio stems become displaced musical conversations to be further studied and responded to via emergent action cycle themes and multi-dimensional possibilities according to David Borgo's notion of Phase Spaces. In this a number of trajectories are refined and revealed: from open-ended exchanges, to completed works, through to live performance and interpretation realities which undermine the somewhat artificial idea of a critical edition or recording as 'closure'. Because the authors have maintained successful music careers pre dot-com bubble, this article also takes the opportunity to reflect upon the contemporary environment and in terms of possible futures for on-line music-making technologies.
dc.publisherOxford University Press
dc.publisher.placeUnited Kingdom
dc.relation.ispartofbooktitleThe Oxford Handbook of Music and Virtuality
dc.subject.fieldofresearchMusic Composition
dc.titleMusic in perpetual beta: Composition, remediation, and 'closure'
dc.typeBook chapter
dc.type.descriptionB1 - Chapters
dc.type.codeB - Book Chapters
gro.facultyArts, Education & Law Group, Queensland Conservatorium
gro.hasfulltextNo Full Text
gro.griffith.authorDraper, Paul A.

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