Contemporary guitar design, pedagogy and performance practice methods present a series of multidisciplinary issues, which concern homogenous musical structure and performance control. A performer may extend their musical craft through the development of digital signal processing systems in order to attend to structural homogeneity. Such an approach may result in physical control and perceptual problems. Physical and figurative gestural relationships between the performer, instrument, transformative signal processes and resultant sound structure may appear contrary to more conventional instrumental performance schemata concerning performance engagement, effort and involvement.
This thesis will present a technologically-driven instrumental performance methodology, underpinned by relevant multidisciplinary theoretical research concerning the role of instrumental performance gesture categories and the perceptual organisation of musical performance events. The resultant theoretical framework will inform the development of a digital music system for real-time improvisatory hyperinstrumental performance, exploiting relevant instrumental performance gestures and associated musical schemata. The resultant digital music performance system will attend to structural homogeneity whilst considering emergent research issues in relation to conventional instrumental design, pedagogy and practice. Through creative practice, the performer may develop unique musical relationships between performance gesture categories, cognitive schemas in musical memory and cognition-based formal music models. Such an approach may encourage the cultivation of a unique and coherent hyperinstrumental music performance practice, beyond the conventions and limitations of the standardised chordophone.
uk.bl.ethos.586709
Richard Graham
http://ethos.bl.uk/OrderDetails.do?did=29&uin=uk.bl.ethos.58
http://bibliotecadelaguitarra.com
