Research theses:
1) PhD thesis from CCS, University of Technology, Sydney.
WORKING BETWEEN MUSIC AND PHILOSOPHY: THE TRANSFORMING GESTURE.
UNIVERSITY OF TECHNOLOGY, SYDNEY
SCOTT SIMON 2016
Abstract
This thesis is concerned with the creation of unique multi-media artifacts and an analysis of the processes involved. The artifacts are built from three linked components. The first component is a music composition with a title. The second component is a short program (about one page or less) that offers a poetic interpretation of the title. The third component is the thought form, a more in-depth analysis of some philosophical or theoretical elements that are suggested by the title and program. These three elements make up each object / artifact. The philosophical texts that are generated are utilized to create a series of textual metaphors that serve as the basis of musical processes and compositional forms. The musical compositions consist of electronic synthesis and improvised or composed guitar parts. In addition to the artifacts proper the artist undertook an analysis of the working processes that went into the making of each object. The research outcomes are a series of working models that allow other composers to increase their understanding of the field. Knowledge is created in the form of new understandings of the connection between art objects and philosophical texts in connection to the “making” process.
The creative process was organized into three phases, each phase containing the analyses of a series of artifacts. The process of making was subjected to a reflective logic at every level. The analysis of the creative process, and the analysis of the emerging artifacts, were utilized to augment and develop those artifacts. An iterative circle of practice and theoretical reflection was built into the structure of the thesis. The findings of the thesis are arrayed around the models of practice that were developed during this process; (1) A more complete understanding of the activity of working between music and philosophical text was produced. The techniques of past practitioners were codified and refined. (2) Tacit working modes were brought forward into the circle of discourse. Such explication produces valuable information for artists and researchers working in similar contexts. (3) Connections between instrumental logic (guitar improvisation) and blended-space components were developed. This aspect of the practice produced reflective commentary and aesthetic outcomes that outlined progressive forms of compositional and performance-based activity. From codification to refining and developing – the process of identifying actual practice and adding new elements to such are the concrete outcomes of the research.
>link to thesis: PhD
2) MA thesis from EMU, Adelaide University.
DIVINE ARCADIAN TECHNOLOGIES: A CYCLE OF RECORDED MUSICAL WORKS WITH EXEGESIS
UNIVERSITY OF ADELAIDE, ELDER CONSERVATORIUM, EMU.
SCOTT SIMON 2011
Abstract
This portfolio submission realizes the creative theme “Divine Arcadian Technologies” as a cycle of recorded musical works. Accompanying the recording is a written exegesis. The recording is divided into four main sections: Divine Arcadian Technologies 1, 2, 3, and 4. Within each section two or three separate pieces of music are arranged, each with a separate title. In this way Divine Arcadian Technologies 1 comprises two compositions, the titles of which are Battle and Steel Dawn Venus. Divine Arcadian Technologies 2 comprises two compositions, the titles of which are Odyssey and Moonrise Future Primitive. Divine Arcadian Technologies 3 comprises three compositions the titles of which are King of the Seven, Sun Array, and Sun Hymn. Divine Arcadian Technologies 4 comprises three compositions the titles of which are The Spheres, Future Love, and Future Love Rhythms. The length and title of each track as arranged on the CD: 1-Battle (4:58), 2-Steel Dawn Venus (6:29), 3-Odyssey (4:31), 4- Moonrise Future Primitive (6:38), 5-King of the Seven (3:50), 6-Sun Array (8:58), 7-Sun Hymn (4:43), 8-The Spheres (4:55), 9-Future Love (3:57), 10-Future Love Rhythms (2:21). Total Length: 51 minutes
The methods used in creating these works were varied in nature, but there are some overarching components we can outline here. The genesis of each piece is connected to a title, a set of key words, and a musical plan. The musical plan is a guitar / vocal piece. This piece is transposed onto synthesisers. Some unquantized vocal and guitar parts remain in the finished works. The mixing process is deemed to be as important as the other stages, and much attention is devoted to engineering the overall texture and ambience of the works.
Accompanying the recordings is an exegesis. The exegesis has two distinct components, the philosophical exegesis and the track plan and analysis. The first component deals with the concept Divine Arcadian Technologies. The philosophical unfolding of the idea reflects accurately the artist’s state of mind as he realized the musical component. “Divine Arcadian Technologies” is read as an idea that seeks to reconcile, or synchronise, the beautiful in nature (the Arcadian) with the technology of humanity. This synchronisation is undertaken for more than purely aesthetic reasons, it is taken as an important element of musical practice that a commitment to such a position will inform the gesture of the artist in some fundamental way.