Sonic dramaturgy in post-radiophonic art

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In this thesis I investigate how practitioners of post-radiophonic art use a listener-centric approach to sonic dramaturgy to produce new aesthetic listening experiences. Radiophonic art is understood as a sound studio practice that originated in public radio. With the widespread decline of public radio support for radiophonic art, it is timely to consider its pursuit beyond the broadcast system. I examine how sonic dramaturgy shapes post-radiophonic practice. I develop three creative research projects to investigate the implications for radiophonic art in producing hybrids with other sonic arts practices: sound installation, live performance, and soundscape composition. I compare sonic dramaturgies deployed in selected sonic artworks. These provide context for my own post-radiophonic works: 𝘔𝘢𝘯𝘪𝘧𝘦𝘴𝘵𝘰, 𝘚𝘺𝘮𝘱𝘢𝘵𝘩𝘺 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘋𝘦𝘷𝘪𝘭, and 𝘓𝘢𝘯𝘥𝘴𝘤𝘢𝘱𝘦 𝘈𝘧𝘵𝘦𝘳 𝘋𝘦𝘢𝘵𝘩 [𝘋𝘶𝘣]. Through sonic dramaturgy, I examine how the engagement with related sonic arts practices in post-radiophonic practice affords new listening experiences. I use the method of descriptive poietic analysis to narrativize the sonic dramaturgical processes embodied in these post-radiophonic works. I draw from production dramaturgy, reader-response theory, phonomusicology, and the phenomenology of listening for my analysis; and to produce new insights into the extraordinary complexity at play in the making and reception of post-radiophonic works.
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