2026-09-21T12:11:47Zhttps://dora.dmu.ac.uk/server/oai/requestoai:dora.dmu.ac.uk:2086/211692023-10-18T02:02:29Zcom_2086_2388col_2086_2389
Acousmatic Storytelling: A compositional approach
Amelidis, Panagiotis
The purpose of this research is to explore the idea of relating storytelling with
acousmatic music in the creation of a hybrid vehicle for transmitting stories, to develop
a compositional methodology derived from the exploration of the synergy between
storytelling techniques and acousmatic practice and to deliver works, which facilitate
reinvention of the experience and memory for listeners. While particular attention is
focused on acousmatic works, the research presented in this exegesis also explores the
theory of storytelling in more general terms, with evaluation of its potential to inform
the development of acousmatic works.
This thesis is inspired by the work of specialists of storytelling theory (e.g. Todorov, Le
Poidevin and Davidson) and their views on the elements of storytelling, and continues
to investigate storytelling elements in the repertoire of acousmatic music and the use of
the voice as a means of imparting a story with composers such as L. Ferrari, H.
Westerkamp, D. Derbyshire, C. Calon and J. Young providing especially pertinent
examples. The hypothesis and theoretical analysis were practically tested and
implemented in the five acousmatic works created for this particular project.
This research reveals the potential for acousmatic creativity to reach new audiences (in
terms of age, culture, nationality) by blending culture-specific storytelling with
acousmatic practice, proposing in that way a renewal of the musical vernacular of
acousmatic music. By integrating archival recordings, interviews, transformed sounds,
and referential sounds, the microphone and recorded medium became a time machine,
‘thought capturer’ and a conduit for conveying cultural information. All these elements
combined with the sonic world composed in the studio are creating a hybrid form of
acousmatic work, a subgenre which I define as acousmatic storytelling.
The notion of musicality, the definition of acousmatic storytelling as well as concepts
and, terms and definitions of acousmatic music are presented in Chapter 1. The
! 3!
portfolio was created having as a conceptual basis elements and techniques of
storytelling and story construction which are presented in Chapter 2, together with an
examination of works identifying ways in which acousmatic composers have used
storytelling within their own work. In Chapter 3 the creative approach applied in the
works of this portfolio is presented, both as concepts and methodology.
This research is useful for all those working with recorded sound because it offers an
approach to sonic creativity based on storytelling techniques, and provides a universal
perspective of the composer who can now be seen as historian, journalist, author as well
as musician. It also provides the means to engage a broader audience with the practice
of acousmatic music.
De Montfort University
2015-02
Thesis or dissertation
Doctoral
PhD
en
https://dora.dmu.ac.uk/handle/2086/21169
https://dora.dmu.ac.uk/bitstreams/38be64dc-337c-42f8-af1f-ec46e3037067/download
eddc4b286ff0a8b02a6dba0bd88de1b3
https://dora.dmu.ac.uk/bitstreams/d5f09aae-9da2-436b-8ca5-29e5462981fe/download
bd41181d9a4c38b5ebacc69a027024d9
https://dora.dmu.ac.uk/bitstreams/b9563b91-67cb-44df-bdb0-9c62252b0b47/download
89f437251841d197067c1d4f2c26eab7
Faculty of Computing, Engineering and Media