This paper discusses recent works incorporating field recordings and acoustic instruments by four Western Australian composers: Sam Gillies, Josten Myburgh, Michael Terren and Lindsay Vickery. In particular, the paper investigates their approaches to issues and techniques of spectral analysis, sonification, coordination of live and prerecorded elements, transcription, resynthesis, transformation and ecostructural considerations. The discussion is framed by an examination of the evolution of the practice of combining field recordings and acoustic instruments as a genre in the context of ideological and technological advancements and impediments. The works are placed in the framework of emerging digital technologies deployed in similar work by James O'Callaghan, Aaron Einbond, Joanna Bailie and Chaz Underriner.
|Name||Proceedings of the Annual Conference of the Australasian Computer Music Association Brisbane Australia|
|Publisher||Australasian Computer Music Association|
|Conference||Annual Conference of the Australasian Computer Music Association|
|Abbreviated title||ACMC 2016|
|Period||10/07/16 → 11/07/16|