Year

2013

Degree Name

Doctor of Philosophy

Department

Faculty of Creative Arts

Abstract

Electroacoustic composers have developed a variety of approaches to the use of space within music. Relatively recent technological and scientific advancements have augmented synthesised space with the promise of verisimilitude: the sensation of spatially authentic audible reality. How does this promise correspond to musical concerns?

The thesis develops a new perspective in which composers' interest in spatial verisimilitude is characterised as more concerned with auditory illusion, than with notions of space. This perspective describes a departure from past compositional engagement with isolated spatial parameters, and signals a movement towards the pursuit of realistic illusion within music. The exploration of this pursuit, and its significant technological mediation, highlights fundamental and complex tensions that affect spatial music composition.

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