January 2014 § Leave a comment
Animism in electronic music
29th January @ 5.00pm
In acoustic music, the body of the performer is important in shaping and expressing the sounding music: the touch of the violinist’s fingers or the gestures of the marimba player both shape how the music sounds and how we perceive it to sound. In contrast, electroacoustic music typically under-‐uses the body and its corporeality as an asset: performance is predominantly carried out in front of a laptop with minimal bodily involvement.
My practice-‐based research problematises corporeality through the performance and composition of electronic music. To this end I have constructed a gestural electroacoustic feedback instrument that relies on the physical presence of the performer to shape and express the music. This instrument serves four purposes within my research:
- As a training device to develop a personal physical relation to sound/s (by engaging physically with them they become inscribed in my body):
- To activate the bodily experience already inscribed in my body
- For use in performance, which arguable enhances and at least modifies the perception of music.
- For generating material to explore the possibility of embedding traces of corporeality within electroacoustic composition, and notions of bodily listening that may result.
Through my research I have identified a number of different representations of corporeality in the sounding music. This presentation will focus on how these representations can be seen as vital parts of a form of animistic relation to sound, a relation that is not uncommon in music based on feedback.
Annelie Nederberg is a composer and performer from Sweden currently based in the UK, pursuing an AHRC funded PhD in Musical Composition at University of Surrey. Annelie has a passion for the performing arts and composes for contemporary dance, theatre and film as well as acousmatic music. She also performs with her self-‐developed gestural feedback instrument and other electronic sounds. Her works move freely between concrete and abstract sounds, between music and sound art, with the human body as an important component: a confluence between movement and electronics into poetic and often slowly evolving sonorous shapes. Annelie’s music has been represented at ICMC, at festivals in the UK and internationally, on radio in Europe and the USA, and in concerts internationally. She has been awarded numerous scholarships and stipends and is a member of the Swedish Society of Composers and SEAMS, the Swedish Electroacoustic Music Society.