Public examination of the doctoral degree of James Andean
Title of the doctoral degree: Towards an Acousmatic Narratology
- Custos: Prof. Dr. Jan Schacher
- Supervisors: Andrew Bentley & Jan Schacher, Sibelius Academy
- Pre-examiners: Pete Stollery & Thomas Grill
- Opponent: Thomas Grill
- Member of the Faculty: Alejandro Olarte
- Artistic evaluation board: Marianne Decoster-Taivalkoski, Patrick Kosk, Kai Lassfolk, Juhani Liimatainen, Kalev Tiits.
- External advisors: Robert Normandeau, John Young
Programme
- Opening of the Public Examination by Custos Prof. Dr. Jan Schacher
- Lectio praecursoria
- Statement of the thesis
- Discussion
- Final statements
- Audience questions
- Conclusion of the public examination
Description of the doctoral project
This doctoral project is an investigation into the narrative aspects of acousmatic music. The goal of the project is, on the one hand, to propose and develop an advanced narrative approach to the acousmatic genre, and on the other to examine, explore, and illustrate this approach through a portfolio of acousmatic compositions. These compositions were presented in a series of concerts, culminating in a solo concert in December 2014 presenting the portfolio in its totality, and on a cd published on the internationally renowned empreintes DIGITALes label in 2019. Each of these compositions provides a ‘test case’ for the examination of the range of narrative properties of acousmatic music, and their relationship and interaction with musical properties.
Acousmatic music is a genre of electroacoustic tape music that has its roots in Pierre Schaeffer’s ‘musique concrète’, the fundamental premise of which is the use of recorded sound from the world around us as primary musical materials. Such sounds, while offering significant musical and sculptural potential, also tend to import images of the possible sources – real or imagined – that might have made these sounds. Despite Schaeffer’s insistence on ‘reduced listening’ as the key to ‘musique concrète’, experience quickly demonstrated that it is not possible to fully ‘turn off’ the string of images and associations that accompany such sounds. These tend to build up towards a narrative experience of acousmatic music, which can be proposed as a kind of ‘parallel’ to the more purely musical experience of the work.
This project therefore proposes a ‘musical/narrative dichotomy’ that is central to acousmatic music. The written work starts from an overview of existing literature (e.g. Ferrari, Emmerson, Smalley, Young, Norman, etc.), with reference to key ideas from narratology, psychology, and the musicology of electroacoustic music, and is examined from perspectives including embodiment, cultural relativism, and approaches to space and place. These provide a foundation for the development of a more substantial and coherent approach to the narrative properties of acousmatic music, culminating in the proposal of a model of eleven ‘Narrative Modes’ in acousmatic music.
Evaluated works
Programme of the first doctoral concert
Wednesday, February 12th, 2014, Musiikkitalo, Black Box
- Kalev Tiits: Short and Gritty (1995)
- Visa Kuoppala: Hermit’s dream of mountain ash (2014)
- Nicolas Bernier: Liaisons mécaniques (2006-07)
- James Andean: Psygeío (2014)
- Alejandro Olarte: Apnea (2014)
- Yves Daoust: Mi bémol (1990)
- John Young: Five Versions of Reality (2013)
- Patrick Kosk: Uno studio dal Bianco di Luna (2014)
- Juhani Liimatainen: …aikana (1998)
- James Andean: Déchirure (2013)
Programme of the second doctoral concert
Thursday, December 18th, 2014, Musiikkitalo, Black Box
James Andean:
- The Friedman Translations: Translation A (2014)
- Radiate (2011)
- Maledetta (2011)
- Between the Leaves (2012)
- Déchirure (2013)
- Psygeío (2014)
- Ainnurruvar II (2013)
- Medusan Torso (2011)
- Hyvät matkustajat (2012/2014)
CD: ‘Assemblance(s)’
empreintes DIGITALes, IMED 19157, released on April 26, 2019
- Déchirure
- Hyvät matkustajat
- Valdrada
- Psygeío
- Spores
- Maledetta
- Medusan Torso
- Between the Leaves
Abstract of the thesis
This doctoral project is an investigation into the narrative aspects of acousmatic music. The goal of the project is, on the one hand, to propose and develop an advanced narrative approach to the acousmatic genre, and on the other to examine, explore, and illustrate this approach through a portfolio of acousmatic compositions.
Acousmatic music is a genre of electroacoustic tape music that has its roots in Pierre Schaeffer’s ‘musique concrète’, the fundamental premise of which is the use of recorded sound from the world around us as primary musical materials. Such sounds, while offering significant musical and sculptural potential, also tend to import images of the possible sources – real or imagined – that might have made these sounds. Despite Schaeffer’s insistence on ‘reduced listening’ as the key to ‘musique concrète’, experience quickly demonstrated that it is not possible to fully ‘turn off’ the string of images and associations that accompany such sounds. These tend to build up towards a narrative experience of acousmatic music, which can be proposed as a kind of ‘parallel’ to the more purely musical experience of the work.
This project therefore proposes a ‘musical/narrative dichotomy’ that is central to acousmatic music. The written work starts from an overview of existing literature (e.g. Ferrari, Emmerson, Smalley, Young, Norman, etc.), with reference to key ideas from narratology, psychology, and the musicology of electroacoustic music, and is examined from perspectives including embodiment, cultural relativism, and approaches to space and place. These provide a foundation for the development of a more substantial and coherent approach to the narrative properties of acousmatic music, culminating in the proposal of a model of eleven ‘Narrative Modes’ in acousmatic music.
About James Andean
James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including electroacoustic music, improvisation, and sound art. He is a founding member of several groups and ensembles, including Rank Ensemble, LOS duo, and VCA. In 2019 his debut acousmatic cd ‘Assemblance(s)’ was released on the empreintes DIGITALes label. He has performed throughout Europe and North America, and his works have been presented around the world. From 2013-15 he was the chairman of Äänen Lumo (Charm of Sound), Finland’s primary sonic arts organization. In 2016, he co-founded the British Electroacoustic Network (BEAN) with Adam Stanović. He is now serving as President of the Canadian Electroacoustic Community, and is Associate Editor with the Cambridge University Press journal Organised Sound. He is currently Senior Lecturer and Programme Leader in Music Technology and Production at De Montfort University, Leicester UK.
More information
James Andean
james.andean@dmu.ac.uk
- Custos: Prof. Dr. Jan Schacher
- Supervisors: Andrew Bentley & Jan Schacher, Sibelius Academy
- Pre-examiners: Pete Stollery & Thomas Grill
- Opponent: Thomas Grill
- Member of the Faculty: Alejandro Olarte
- Artistic evaluation board: Marianne Decoster-Taivalkoski, Patrick Kosk, Kai Lassfolk, Juhani Liimatainen, Kalev Tiits.
- External advisors: Robert Normandeau, John Young
Programme
- Opening of the Public Examination by Custos Prof. Dr. Jan Schacher
- Lectio praecursoria
- Statement of the thesis
- Discussion
- Final statements
- Audience questions
- Conclusion of the public examination
Description of the doctoral project
This doctoral project is an investigation into the narrative aspects of acousmatic music. The goal of the project is, on the one hand, to propose and develop an advanced narrative approach to the acousmatic genre, and on the other to examine, explore, and illustrate this approach through a portfolio of acousmatic compositions. These compositions were presented in a series of concerts, culminating in a solo concert in December 2014 presenting the portfolio in its totality, and on a cd published on the internationally renowned empreintes DIGITALes label in 2019. Each of these compositions provides a ‘test case’ for the examination of the range of narrative properties of acousmatic music, and their relationship and interaction with musical properties.
Acousmatic music is a genre of electroacoustic tape music that has its roots in Pierre Schaeffer’s ‘musique concrète’, the fundamental premise of which is the use of recorded sound from the world around us as primary musical materials. Such sounds, while offering significant musical and sculptural potential, also tend to import images of the possible sources – real or imagined – that might have made these sounds. Despite Schaeffer’s insistence on ‘reduced listening’ as the key to ‘musique concrète’, experience quickly demonstrated that it is not possible to fully ‘turn off’ the string of images and associations that accompany such sounds. These tend to build up towards a narrative experience of acousmatic music, which can be proposed as a kind of ‘parallel’ to the more purely musical experience of the work.
This project therefore proposes a ‘musical/narrative dichotomy’ that is central to acousmatic music. The written work starts from an overview of existing literature (e.g. Ferrari, Emmerson, Smalley, Young, Norman, etc.), with reference to key ideas from narratology, psychology, and the musicology of electroacoustic music, and is examined from perspectives including embodiment, cultural relativism, and approaches to space and place. These provide a foundation for the development of a more substantial and coherent approach to the narrative properties of acousmatic music, culminating in the proposal of a model of eleven ‘Narrative Modes’ in acousmatic music.
Evaluated works
Programme of the first doctoral concert
Wednesday, February 12th, 2014, Musiikkitalo, Black Box
- Kalev Tiits: Short and Gritty (1995)
- Visa Kuoppala: Hermit’s dream of mountain ash (2014)
- Nicolas Bernier: Liaisons mécaniques (2006-07)
- James Andean: Psygeío (2014)
- Alejandro Olarte: Apnea (2014)
- Yves Daoust: Mi bémol (1990)
- John Young: Five Versions of Reality (2013)
- Patrick Kosk: Uno studio dal Bianco di Luna (2014)
- Juhani Liimatainen: …aikana (1998)
- James Andean: Déchirure (2013)
Programme of the second doctoral concert
Thursday, December 18th, 2014, Musiikkitalo, Black Box
James Andean:
- The Friedman Translations: Translation A (2014)
- Radiate (2011)
- Maledetta (2011)
- Between the Leaves (2012)
- Déchirure (2013)
- Psygeío (2014)
- Ainnurruvar II (2013)
- Medusan Torso (2011)
- Hyvät matkustajat (2012/2014)
CD: ‘Assemblance(s)’
empreintes DIGITALes, IMED 19157, released on April 26, 2019
- Déchirure
- Hyvät matkustajat
- Valdrada
- Psygeío
- Spores
- Maledetta
- Medusan Torso
- Between the Leaves
Abstract of the thesis
This doctoral project is an investigation into the narrative aspects of acousmatic music. The goal of the project is, on the one hand, to propose and develop an advanced narrative approach to the acousmatic genre, and on the other to examine, explore, and illustrate this approach through a portfolio of acousmatic compositions.
Acousmatic music is a genre of electroacoustic tape music that has its roots in Pierre Schaeffer’s ‘musique concrète’, the fundamental premise of which is the use of recorded sound from the world around us as primary musical materials. Such sounds, while offering significant musical and sculptural potential, also tend to import images of the possible sources – real or imagined – that might have made these sounds. Despite Schaeffer’s insistence on ‘reduced listening’ as the key to ‘musique concrète’, experience quickly demonstrated that it is not possible to fully ‘turn off’ the string of images and associations that accompany such sounds. These tend to build up towards a narrative experience of acousmatic music, which can be proposed as a kind of ‘parallel’ to the more purely musical experience of the work.
This project therefore proposes a ‘musical/narrative dichotomy’ that is central to acousmatic music. The written work starts from an overview of existing literature (e.g. Ferrari, Emmerson, Smalley, Young, Norman, etc.), with reference to key ideas from narratology, psychology, and the musicology of electroacoustic music, and is examined from perspectives including embodiment, cultural relativism, and approaches to space and place. These provide a foundation for the development of a more substantial and coherent approach to the narrative properties of acousmatic music, culminating in the proposal of a model of eleven ‘Narrative Modes’ in acousmatic music.
About James Andean
James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including electroacoustic music, improvisation, and sound art. He is a founding member of several groups and ensembles, including Rank Ensemble, LOS duo, and VCA. In 2019 his debut acousmatic cd ‘Assemblance(s)’ was released on the empreintes DIGITALes label. He has performed throughout Europe and North America, and his works have been presented around the world. From 2013-15 he was the chairman of Äänen Lumo (Charm of Sound), Finland’s primary sonic arts organization. In 2016, he co-founded the British Electroacoustic Network (BEAN) with Adam Stanović. He is now serving as President of the Canadian Electroacoustic Community, and is Associate Editor with the Cambridge University Press journal Organised Sound. He is currently Senior Lecturer and Programme Leader in Music Technology and Production at De Montfort University, Leicester UK.
More information
James Andean
james.andean@dmu.ac.uk