Gesamtkomposition and the digital opera: A Sentimental Journey

Date

2016-04-11

Advisors

Journal Title

Journal ISSN

ISSN

1479-4713

Volume Title

Publisher

Routledge

Type

Article

Peer reviewed

Yes

Abstract

This article discusses the concept of Gesamtkomposition as a means with which to consider the mutual affection of sensorial media and its operational significance at the point of composition. It analyses and reflects upon the nature of such a concept, and evaluates its application through a major practice-based research project. This central work – A Sentimental Journey [Vear, C. 2010–2011. Composition] – was created for a mixed ensemble of technologies, live musicians, autonomous laptops embedded with generative algorithms accessing fixed media libraries, and was performed to remote audiences located across the planet. The composer, as author of this article, analyses the intermedial relationships within this digital opera, using Elleström’s [2010. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality and Intermediality, edited by L. Elleström. Basingstoke: Palgrave Macmillan] model of multimodality in order to articulate the complexity within the mutual affection of this polymedia composition and as a way of defining Gesamtkomposition. The final section presents an overview of select phenomenologies that contribute to a deeper understanding of the experience of Gesamtkomposition.

Description

This article discusses the concept of Gesamtkomposition as a means with which to consider the mutual affection of sensorial media and its operational significance at the point of composition. It analyses and reflects upon the nature of such a concept, and evaluates its application through a major practice-based research project. This central work – A Sentimental Journey [Vear, C. 2010–2011. Composition] – was created for a mixed ensemble of technologies, live musicians, autonomous laptops embedded with generative algorithms accessing fixed media libraries, and was performed to remote audiences located across the planet. The composer, as author of this article, analyses the intermedial relationships within this digital opera, using Elleström’s [2010. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality and Intermediality, edited by L. Elleström. Basingstoke: Palgrave Macmillan] model of multimodality in order to articulate the complexity within the mutual affection of this polymedia composition and as a way of defining Gesamtkomposition. The final section presents an overview of select phenomenologies that contribute to a deeper understanding of the experience of Gesamtkomposition. The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.

Keywords

Digital opera, media theory, intermediality, music, creative computing, phenomenology

Citation

Vear, C. (2016) Gesamtkomposition and the digital opera: A Sentimental Journey. International Journal of Performance Arts and Digital Media, 12 (1), pp. 61-81

Rights

Research Institute

Music, Technology and Innovation - Institute for Sonic Creativity (MTI2)