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SOUNDCASTLES: Play and process in field-recording composition

Yovev, Symeon (2020) SOUNDCASTLES: Play and process in field-recording composition. PhD thesis, University of Leeds.

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Symeon Yovev_Soundcastles.pdf - Final eThesis - complete (pdf)
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1_razhdavitsa ~ 140827.wav - Examined Content
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2_mauerpark ~ 150510.wav - Examined Content
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3_neukölln ~ 150816.wav - Examined Content
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4_terreiro do paço ~ 160222.wav - Examined Content
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5_mälarhöjden_tbana ~ 160311.wav - Examined Content
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6_arkutino ~ 160906.wav - Examined Content
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7_Rua da Paz.wav - Examined Content
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8_hissar ~ 170104.wav - Examined Content
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9_Fields of Resonance.wav - Examined Content
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List of Compositions and Sound Samples.pdf - Supplementary Material
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Appendix 5_Sound Samples.zip - Examined Content
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Abstract

Soundcastles: Play and process in field-recording composition is a practice-led research in experimental music, which investigates the medium of field-recording as a contested vanguard between the listener and the listened; the self and the soundscape; the composer and the material. The research consists of a portfolio of nine field-recording compositions and a corresponding commentary exploring the ideas, approaches, and discourses behind. It studies the complex boundary where the listener and the sonic environment meet, and explores the music potential of sounds in the urban everyday between the immediacy of their emergence, and the cognitive-emotional context of their subjective perception. In the tradition of soundscape composition with field recordings, a main focus of this research is the integration of the affective and the effective qualities of being in the world and listening. The music properties of urban soundscapes can thus be both emphasised and transfigured, so as to include the subjective aesthetic perception without losing the unique connection to their place of origin. The resulting compositions—soundcastles—become mediations between subject and object, soundscape and inner-scape, the actualised and the potential. This research investigates this liminal space of convergence where a listener encounters the sonic environment, and explores the potency of this encounter. It thus problematises the perceived bifurcation of subject and object of listening, and treats the soundscape in terms of imbricated processes within a network of relationships. Each soundcastle is a process of reducing the continuous acoustic environment to a concrete form as perceived from a standpoint. In particular, the methodology of this practice utilises modern signal processing and editing tools to highlight the subjective experience of a soundscape, while preserving the connection of the composition to the specific place and occasion of its recording. In this way, the Soundcastles project aims to situate itself at the in-between space between phonography and acousmatic music within the field of soundscape composition.

Item Type: Thesis (PhD)
Additional Information:

The file 'Appendix 5_Sound Samples.zip' contains 55 files used in the composition of the main pieces of this thesis. A full file list is available:
List of Compositions and Sound Samples.pdf

Keywords: field-recording, soundscapes, soundscape composition, phonography, listening, soundwalks, experimental composition
Academic Units: The University of Leeds > Faculty of Arts, Humanities and Cultures (Leeds) > School of Music (Leeds)
Identification Number/EthosID: uk.bl.ethos.804580
Depositing User: Mr. Symeon Orlinov Yovev
Date Deposited: 04 May 2020 07:30
Last Modified: 16 Jun 2020 12:41
URI: http://etheses.whiterose.ac.uk/id/eprint/26543

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