The scope of this methodology facilitated the creation of a large quantity of creative works throughout candidature, of which four notated/semi-notated musical compositions and one piece of software (made in MaxMSP) are included in the final thesis, with the other related works are included in the appendices and accompanying media. ![]() In this way, theory and practice become interlocked in the search for evidence of memes in the creation of works of organized sound, and the role memes play in an audience’s ability to (re)construct the intention of a composer. This creative process allows the researcher to arrive at a deeper understanding of memetics and to formalize the conceptual memetic framework and hypotheses described herein. Thinking about these hypotheses and how they might be interrogated through works of organized sound (music, sonic art), yields creative deployment of microsound in primarily scored works. Additionally, it is hypothesized that microsound – sound at the edge of perception – may play a key role as memetic instigator. ![]() It is hypothesized that memes catalyse the creation of artefacts which, in turn, act as instigators for memetic replication in brains. This dissertation proposes a novel memetic framework and creative methodology to probe the mechanism underpinning the transmission of a composer’s intention to an audience, contending that cultural replicators – memes – drive our understanding of a composer’s intention.
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