Intercultural creativity in electroacoustic music: Integrating Indian music cultural sound emblems into new works.

在过去的几年里，在电声音乐作曲家中，将文化上不熟悉的声音融入到自己的创作输出中已经成为一种越来越流行的活动；然而，这种性质的作品很难不被指责为挪用或剥削，甚至沉迷于带有19世纪殖民主义色彩的当代版本的音乐异国情调。该项目将通过与印度音乐家和英国观众合作，探索在新的电声音乐作品（利用技术探索、创造和表演声音的作曲）中融入特定文化的声音。与传统的以音符为基础的器乐不同，电声音乐可以通过音频采样来表达异国情调的声音。本研究将探讨收集和整合来自印度乐器的印度文化声音的过程，并将其融入两个新的电声音乐作品中。该项目由位于利物浦霍普大学的Milapfest（英国国家印度艺术信托基金）协调和支持，将使世界知名音乐家能够互动，建立独特的合作体验，调查对文化声音的感知和理解（即，作为文化特定的声音体验）。以实践为主导的研究（作曲作品）将通过借用与我自己的文化背景和经验不同的文化中的声音来质疑电声音乐世界的开放性，并将以在线研究博客的形式记录下来，并在一篇新的期刊文章中更正式地发表。音乐输出，测试各种方法，技术和工具来掩饰或强调电声音乐创作中的文化表现，将建立在关于文化声音使用的好处，影响和问题的论述之上。通过这些输出，本研究旨在解决目前缺乏将文化上不熟悉的声音纳入创造性输出的频繁行为的背景文件的问题。新作品的公开音乐会展示将把印度音乐和电声音乐通常分开的世界结合起来，而观众的观点将通过访谈和问卷调查来整理公众对异国声音的接受程度。在国际计算机音乐会议（ICMC）和电子音乐研究网络会议（EMS）上的研究传播将鼓励进一步的学术兴趣，并考虑文化声音的创造性使用，同时将印度音乐的各个方面暴露给传统上不熟悉这些实践的研究领域。此外，从印度乐器录音中创建一个在线声音档案，将在Milapfest的在线门户网站上建立一个免费访问的教育和研究资源。在项目资助期内，利用声音档案的新电声音乐作品将继续影响和影响研究。

Incorporating culturally unfamiliar sound into one's own creative output has been an increasingly popular activity among electroacoustic music composers over the last few years; yet work of this nature is difficult to develop without being accused of appropriation or exploitation, and even of indulging in a contemporary version of musical exoticism, with its overtones of nineteenth-century colonialism.This project will explore the inclusion of cultural-specific sound in new electroacoustic music works (composition using technology to explore, create and perform sounds) by working collaboratively with Indian musicians and UK audiences for Indian music. Unlike traditional note-based instrumental music, which may engage with exotic musics through evocation, electroacoustic music can express exotic sound quotations literally, via audio sampling.This research will examine the process of collecting and incorporating Indian cultural sounds originating from Indian musical instruments into two new electroacoustic music compositions. The project, coordinated and supported by Milapfest (the UK's National Indian Arts Trust) based at Liverpool Hope University, will enable interaction with world-renowned musicians to establish a unique collaborative experience investigating the perceptions and understanding of cultural sound (that is, sound experienced as culturally specific). Practice-led research (composition work) will question the openness of the electroacoustic music sound world through the borrowing of sounds from a culture different to my own cultural background and experience, and will be documented in the form of an online research blog and presented more formally in a new journal article. The musical output, testing a variety of methodologies, techniques and tools to disguise or emphasise cultural manifestation in electroacoustic music creation will build upon a discourse concerning the benefits, implications and issues of cultural sound use. Through these outputs, this research aims to address a current lack of contextual documentation on the now-frequent act of incorporating culturally unfamiliar sound into creative output. Public concert presentation of the new works will unite the usually separate worlds of Indian music and electroacoustic music, while audience perspectives will collate public reception of exotic sound via interviews and questionnaires. Research dissemination at the International Computer Music Conference (ICMC) and Electronic Music Studies Network conference (EMS) will encourage further scholarly interest in, and consideration of, creative uses of cultural sound, while exposing aspects of Indian music to a research field traditionally unacquainted with these practices. Further to this, creating an online sound archive from the Indian musical instrument recordings will establish a freely-accessible education and research resource appearing within Milapfest's online portal. Commissioning new electroacoustic music works making use of the sound archive will continue the research's influence and impact beyond the project's funded duration.