A theoretical approach to the relationship between electroacoustic music and the human body into the performative space.
Keywords: Performance, Electroacoustic Music, Movement, Body, Live, Stylistic and aesthetic identities, Hybridisation, Energy, Gesture, Technology/Machine.
Humanising the material is a rather abstract term which, refers to the transformation of energies that can be found into any performative space. We hope that the following approach will provide a more solid foundation for unlocking the notion of effort in performing arts in relation to the impact the human body may cause to the environment around the performance space.
Musically speaking, the proposed model considers the human activity as its central theme. Yet as it emerged, it became apparent that this proposal is not so much about “live music” as about the relationship of the human music maker to other possible sound sources and agencies, whether natural and environmental or human-made and synthetic. Thus, while I identify the human being as the central agent in the discussion, other entities will be identified and contribute to our sonic discourse.
The above compositional approach, explores the non-sonic elements and qualities in electroacoustic music performance with regard to the human body and physical gesture. The question whether anybody is doing anything and to what degree the performer’s actions during the performance itself are responsible for the sounds we hear are intimately connected with the notion of effort and the actual process of music-making. The emphasis is placed on the communicational model that draws attention to how the human agent/performer creates relationships between the sonic, technological and social space in electroacoustic music. Therefore, I suggest an inquiry into the field where music and effort coexist and portray electroacoustic music performance as an integrated human activity.