78,813 research outputs found
David Prior's diffusion
No full textA recording featuring the introduction and the diffusion of the audio piece by David Prior at Jaqueline Du Pre Concert Hal
Arcades - Who's Most Lost?
No full textArcades’ is a song-writing collaboration between Prior and Dugal McKinnon. ‘Arcades’ owes its title to the Walter Benjamin project of the same name, signalling acknowledgement of the palimpsest of influences upon which it draws. However, rather than these influences being represented in the music by means of direct sampling, ‘Arcades’ makes use of a dense collage of sounds, all of which remain subservient to the overall gestalt: ‘Arcades’ is conceived as an ecology in which the constituent elements of a song rarely rise in significance above one-another but, rather, gain meaning from the way in which they blend and clash.
While ‘Arcades’ draws heavily on acoustic instruments, these are used more as cultural signifiers than vehicles for expressive performance. ‘Arcades’ is an acousmatic studio construction which attempts to reinterpret some of the central themes of classical ‘musique concrète’ through the lens of the pop song, with all its ‘redundant’ protocols of traditional pitch, harmony, rhythm and structure serving as sonic sign-posts to focus the listener on the fabric of the sound itself
Online Orchestra - Special Issue of Journal of Music, Technology and Education
No full textOnline Orchestra was an Arts & Humanities Research Council-funded project, run by Falmouth University from October 2014 to March 2016, in collaboration with the University of Bristol, the Philharmonia Orchestra and the Cornwall Music Education Hub. It involved an interdisciplinary team of 55 research and support staff, and a further 60 young and amateur musicians.This special edition of the Journal of Music, Technology and Education sets out detailed findings from the Online Orchestra project through a range of articles written by various members of the research team
The Unreliable Mediator: Speakers in Sound Art heard through Music on a Long Thin Wire
No full textWithin the array of sounding devices that have been deployed in the making of sound art, the speaker has a special status. Emerging during a period in which music and fine art practices had long since integrated electronic technology, sound art was born into an epoch of recording and amplification. Although not ubiquitous, the extent of the speaker’s influence on sound art cannot be underestimated, and yet its technical, semiotic, cultural and ontological characteristics have attracted relatively little critical commentary.
One of the characteristics of sound art that differentiated it from the experimental musical traditions that formed part of its heritage, was the greater degree of scrutiny it gave to the materials of its construction. In this way, sound art has frequently positioned itself within the discourse of contemporary sculpture and installation art and as such, both the affordances of sound itself and the materials of its technical apparatus need to be understood as different dimensions of what constitutes its medium. This brief survey of the uses of speakers in sound art uses Lucier’s Music on a Long Thin Wire as a case study in which the speaker is utilized not just for its ability to convey sonic meaning generated elsewhere but also as a thing in its own right
Catalogue produced by Waygood Gallery
No full text2002 Catalogue produced by Waygood Gallery. Texts by Lisa prior, David Butle
Online Orchestra - conference paper at Performance Studies Network, Bath Spa
No full textIntroduction to Online Orchestra, delivered with David Prior and Federico Reuben
A Space for Sound: The Rise, Fall and Fallout of the Concert Hall as a Primary Space for Listening
No full textThe focus of this study is to examine the relationship between the concert hall and the music it hosted as it weathered radical changes in context through the second half of the twentieth century. The development of any institution evolves to some degree to reflect the social order that created it and as the political economy that brought the concert hall into being changed, the concert hall had to contend simultaneously with new musical practices requiring changing acoustical needs as well as the rise of sound recording technologies which threatened its pre-eminent status as the primary location for listening to music
Framing Listening and the Phonosphere
No full textFraming Listening and the Phonosphere, was presented as part of the ‘Ubiquitous Sound Panel’ of the Bright Collisions Summit 2014. The invitation to present this talk came in response to Liminal’s award winning project Organ of Corti. At the time Frances Crow and David Prior had just completed their film Of This Parish and were beginning to develop the wider research theme of the changing role of bells in contemporary culture.
The presentation developed the research theme of framed listening explored in Liminal’s (Frances Crow and David Prior) award winning project Organ of Corti – an experimental instrument that recycles noise from the environment ¬– juxtaposing it with the notion of acoustic space as a phonosphere explored through Liminal’s project Of This Parish. Where Organ of Corti does not make any sound of its own, but draws attention to ubiquitous sounds already present in the environment, by framing them in a new way, Of This Parish takes as its starting point the idea of ‘parish’ as a phonosphere; a territory defined by the earshot of a bell.
Liminal’s film Of This Parish was also screened as part of the TodaysArt 2014 Festiva
The Olasky Interview: Karen Swallow Prior on abolitionist Hannah More
No full textKaren Swallow Prior, a professor of English at Liberty University, is the author of Fierce Convictions: The Extraordinary Life of Hannah More -- Poet, Reformer, Abolitionist (Thomas Nelson, 2014)
- …
