Ubiquitous Music Conference

The conference in Brazil accepted the paper. It’s a tad long so still some work to be done. I’m given the impression that there’s a good chance an acceptance is a sure precursor to the Journal of New Music Research issue and will need to be expanded to 25 pages. SO!

Update: The final review wasn’t positive, but corrections and improvements are being made. It seems unlikely. Most of the weaknesses pointed out were not only legitimate, but from one point of view possibly core to what the research was about. A lot of this could have been avoided had i foreseen these issues earlier. A shift in perspective is easy enough to conceive, but a bit tight to rewrite it from scratch.

It was nice to be asked though.


The abstract:

Music as a Plastic Art
An ecological strategy Facilitating emergence in an instrumental composition ecology

Abstract.  This recounts and expands on a method for fixed-sound composers to construct music for solo as well as fixed-sound accompanied instrumental performance. It uses aural models instead of written or graphic systems to stay congruent with concrete studio practice, rarifying the aural feedback cycle. The composition is realized within this heightened aural environment with the com- poser situated as an embedded organism. Results gathered in the studio, from individual samples to the finished composition, can be thought of as eigenstates, resulting from the complex interaction of various perceptual, audible, conceptual, and computer aided mechanisms. Aural models can potentially reduce the interpretive degrees of freedom to near zero, creating an ’impossible’ task, paradoxically producing a bounded yet infinite spectrum of musical outcomes. The ideas are largely from part of my 2007 PhD research (sponsored by De Montfort University).