Embodied composition - treatment and meaning of physical object in experimental music and sound art

Abstract

This thesis is a theoretical examination of the musical and artistic works and practices where physical object other than musical instrument is used in the production of musical meaning. This subject is explored within the frame of contemporary music, experimental music and sound art, but the systematic overview is made from the perspective of the last two genres. The focus is on explaining how physical objects acquire musical function from theoretical point of view, and what practical interventions are needed to make an object produce musical meaning. Objects within musical context can have various functions, and some of these functions which I considered essential, have been described and analyzed through the works by distinguished artists. Inspiration for this text comes from the existence of discrepancy between the abstraction of music and corporeality of objects, which are able to exist together in the form of musical objects that I am describing. I was stimulated to think thoroughly about this topic because of the wish to summarize the observations from my own experience of playing with objects and dealing with them in my musical works. My goal was through the in-depth analysis of objects and the way of their usage, to develop a better comprehension of the reason why for centuries artists have aimed towards the embodiment of music into physical form, and to try to spot the indications of new musical practices which are developing around these objects.