Electroflorescence

Drummond, JR

Electroflorescence

Drummond, JR

Permalink

Publication Type:: Performance
Citation:: 2015
Issue Date:: 2015

Closed Access

	Filename	Description	Size
	Michael Atherton u0026 Jon Drummond performing 'Electroflorescence' 21 Nov 2015.mp4		27.54 MB	MP4	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Drummond, JR https://orcid.org/0000-0002-2146-6171	en_US
dc.date	2015-11-21	en_US
dc.date.issued	2015	en_US
dc.identifier.citation	2015	en_US
dc.identifier.uri	http://hdl.handle.net/10453/81458
dc.title	Electroflorescence	en_US
dc.type	Performance
utslib.location	ABC Classic FM Studio Performance and Broadcast	en_US
utslib.for	1904 Performing Arts and Creative Writing	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	ABC Classic FM Studio Performance and Broadcast	en_US
pubs.start-date	2015-11-21	en_US
pubs.rights-statement	Electroflorescence: Jon Drummond For Hurdy Gurdy and live digital sound processing Research background This research sits in FOR 190407 Music Performance. Ros Bandt has combined the use of acoustic instruments and recorded sound, often through the use of pre-rendered electroacoustic layers in her performance practice and research. Cat Hope and her ensemble Decibel integrate live performance, acoustic orchestral instruments (flute, cello, clarinet) and live electronic sound. Garth Pain has also researched works for acoustic instruments (flute, percussion) and computer processing using live looping and sound buffering techniques. The research question addressed by this project is: can the medieval technology of the Hurdy Gurdy (drone and melody) be extended and transformed through live-coded software digital sound processing in the context of semi-improvised performance? Research contribution Electroflorescence demonstrates that an effective hybrid – interactive electroacoustic performance – can be created through combining the Hurdy Gurdy with live digital sound processing creating rhythmic, melodic and timbrel development and transformation. Real-time granular synthesis software interfaces were created to provide looping, rhythmic pulses and frequency and shifts. These were applied to the Hurdy Gurdy’s medieval music technology with drone strings automated through turning a rosined wheel and melody strings performed via a keyboard like interface. Research significance This work was selected for Virtual Meets Physical live ABC Classic FM broadcast curated for Australian Music Week 2015. It was selected via peer review for the Australasian Computer Music Conference 2015 concert series. It was funded by a grant from the Australia Council for the Arts Grant 2014.	en_US
pubs.rights-statement	Electroflorescence: Jon Drummond Electroflorescence is a live performance work for Hurdy Gurdy and live electroacoustics Research background This research sits in FOR 190407 Music Performance. Ros Bandt has combined the use of acoustic instruments and recorded sound, often through the use of pre-rendered electroacoustic layers. Cat Hope and her ensemble Decibel integrate live performance, acoustic orchestral instruments (flute, cello, clarinet) and live electronic sound. Garth Pain has also researched works for acoustic instruments (flute, percussion) and computer processing using live looping and sound buffering techniques. The research question addressed by this project is: When electroacoustic augmentation is applied to the Hurdy Gurdy’s Medieval analogue implementation of musical automation through drone wheel and melody keyboard interface – how must the process of augmentation differ. Research contribution Electroflorescence demonstrates that granular synthesis software interfaces and real time software based musical computation proved extremely effective when combined with the analogue Medieval music technology implemented vie the Hurdy Gurdy’s instrument interface. The Hurdy Gurdy’s drone strings automated through turning a rosined wheel and melody strings performed via a keyboard like interface were augmented and reinterpreted with live digital granular sound processing creating rhythmic, melodic and timbrel development and transformation. Unique real-time granular synthesis software interfaces were created to provide looping, rhythmic pulses and frequency and shifts. Research significance This work was selected for Virtual Meets Physical live ABC Classic FM broadcast curated for Australian Music Week 2015. It was selected via peer review for the Australasian Computer Music Conference 2015 concert series. It was funded by a grant from the Australia Council for the Arts Grant 2014. https://www.youtube.com/watch?v=QG23i0aaMhU Electroflorescence for Hurdy Gurdy and Live Sound Processing performed by Michael Atherton and Jon Drummond at Virtual Meets Physical live ABC Classic FM broadcast	en_US

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/81458