Compositional strategies in music for solo instruments and electroacoustic sounds

Part I of this dissertation examines five works by the author for solo instruments and electroacoustic sounds composed between 1986 and 1992. Chapter 1 deals with the conceptual framework which underlines the different compositional strategies employed in the works discussed. Chapter 2 examines the integration of instrumental sounds with electroacoustic sounds in the work Papalotifor piano and tape and its use to generate a dynamic structure. Compositional techniques are discussed in detail. In Chapter 3, the author discusses the work On going on for baritone saxophone and electroacoustic sounds focusing on improvisation as a significant element in the composition process and the structuring of instrumental and electroacoustic material. In Chapter 4 the generation of rhythmic objects is examined as the basis for the formal strategies in Acuerdos por Diferencia for harp and electroacoustic sounds. The design and integration of rhythmic objects are then discussed in the context of the composition process. Chapter 5 deals with the appropriation of an instrumental technique as the compositional instigator of choreomusical design in the conception and composition of As! el Acero for tenor steel pan and electroacoustic sounds. Chapter 6 focuses on the use of different stylistic traits as the basis for a compositional genesis, and the elaboration of instrumental and electroacoustic sound materials in Mannam for kayagum and electroacoustic sounds. In Chapter 7 the author discusses the dilemmas presented to the composer when discussing his own compositional strategies. The general context of the works discussed is analysed from the perspective of electroacoustic and acousmatic music, attempting to assess how such works may contribute to the changing sthetic enunciates of a young medium. A number of general theoretical and practical issues pertaining to mainstream electroacoustic music are then examined in closer detail. The author then puts forward the thesis that a significant advancement of experimental composition in general can be brought about by a renewed cross-fertilisation betweeninstrumental and electroacoustic thought and practice. Part II includes recording details, a score and a complete studio recording of each of the works discussed in Part I