Mixing the Immiscible: Improvisation within Fixed-Media Composition

Research output: Chapter in Book/Report/Conference proceedingConference contribution

27 Citations (Scopus)

Abstract

This paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as 'the aesthetics of perfection' and 'the aesthetics of imperfection'. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research's main document will also be advocated for, as these trends are happening in the laboratory of live music.
LanguageUndefined
Title of host publicationElectroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music
Publication statusPublished - 1 Jun 2012

Cite this

Tremblay, P. A. (2012). Mixing the Immiscible: Improvisation within Fixed-Media Composition. In Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music
Tremblay, Pierre Alexandre. / Mixing the Immiscible : Improvisation within Fixed-Media Composition. Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music. 2012.
@inproceedings{4a12d4c923a14278b16bb4ac90966389,
title = "Mixing the Immiscible: Improvisation within Fixed-Media Composition",
abstract = "This paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as 'the aesthetics of perfection' and 'the aesthetics of imperfection'. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research's main document will also be advocated for, as these trends are happening in the laboratory of live music.",
author = "Tremblay, {Pierre Alexandre}",
year = "2012",
month = "6",
day = "1",
language = "Undefined",
booktitle = "Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music",

}

Tremblay, PA 2012, Mixing the Immiscible: Improvisation within Fixed-Media Composition. in Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music.

Mixing the Immiscible : Improvisation within Fixed-Media Composition. / Tremblay, Pierre Alexandre.

Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music. 2012.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

TY - GEN

T1 - Mixing the Immiscible

T2 - Improvisation within Fixed-Media Composition

AU - Tremblay, Pierre Alexandre

PY - 2012/6/1

Y1 - 2012/6/1

N2 - This paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as 'the aesthetics of perfection' and 'the aesthetics of imperfection'. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research's main document will also be advocated for, as these trends are happening in the laboratory of live music.

AB - This paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as 'the aesthetics of perfection' and 'the aesthetics of imperfection'. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research's main document will also be advocated for, as these trends are happening in the laboratory of live music.

M3 - Conference contribution

BT - Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music

ER -

Tremblay PA. Mixing the Immiscible: Improvisation within Fixed-Media Composition. In Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music. 2012