La lectura e interpretación musicales son el objeto del texto.

All works include a score and recording, or the software, as appropriate. ground! for solo low woodwind attempts to trace the lineages of microsound (and by implication, memes) across multiple iterations of music, by ‘tracing’ composer Evan Johnson’s Ground and creating a variation piece that retains key structural information but is otherwise thoroughly transformed, and Spectral Domain Microsound Amplification Software (SDMAS) is a software prototype to amplify those sounds in a frequency spectrum that are generally inaudible, and was deployed in pieces that are listed in the appendices. Mozart Variations is an open, graphical score for any number of musicians that assisted in formalising the small- meme stance silver as a catalyst in organic reactions takes the meme as a metaphor, using existing data structures (a silver atom bonded with a carbon atom) as the source to be ‘read’, akin to genetic replication, and is for solo baroque violin End to Reattain for violin and electronics is a structured improvisation that plays with microsound and its perceptual bases It needs a big ‘ow’ sound ow-nd. The scope of this methodology facilitated the creation of a large quantity of creative works throughout candidature, of which four notated/semi-notated musical compositions and one piece of software (made in MaxMSP) are included in the final thesis, with the other related works are included in the appendices and accompanying media. In this way, theory and practice become interlocked in the search for evidence of memes in the creation of works of organized sound, and the role memes play in an audience’s ability to (re)construct the intention of a composer. This creative process allows the researcher to arrive at a deeper understanding of memetics and to formalize the conceptual memetic framework and hypotheses described herein. Thinking about these hypotheses and how they might be interrogated through works of organized sound (music, sonic art), yields creative deployment of microsound in primarily scored works. Additionally, it is hypothesized that microsound – sound at the edge of perception – may play a key role as memetic instigator. It is hypothesized that memes catalyse the creation of artefacts which, in turn, act as instigators for memetic replication in brains.

This dissertation proposes a novel memetic framework and creative methodology to probe the mechanism underpinning the transmission of a composer’s intention to an audience, contending that cultural replicators – memes – drive our understanding of a composer’s intention.

Como hacer la dinamica de una partitura