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

将文化上不熟悉的声音融入自己的创作中，在过去几年里，在电声音乐作曲家中越来越受欢迎;然而，这种性质的作品很难发展而不被指责为挪用或剥削，甚至沉迷于当代版本的音乐异国情调，这个项目将探讨在新的电声音乐作品中包含文化特有的声音（作曲使用技术来探索，创造和表演声音）通过与印度音乐家和英国观众合作，为印度音乐。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字面上表达异国情调的声音报价。本研究将研究收集和整合来自印度乐器的印度文化声音的过程，并将其纳入两个新的电声音乐作品。该项目由位于利物浦霍普大学的Milapfest（英国国家印第安艺术信托基金会）协调和支持，将与世界知名音乐家进行互动，以建立一种独特的合作体验，调查对文化声音（即特定文化的声音）的感知和理解。以实践为主导的研究（作曲工作）将通过从与我自己的文化背景和经验不同的文化中借用声音来质疑电声音乐声音世界的开放性，并将以在线研究博客的形式记录下来，并在新的期刊文章中更正式地提出。音乐输出，测试各种方法，技术和工具，以掩饰或强调电声音乐创作中的文化表现将建立在有关文化声音使用的好处，影响和问题的话语。通过这些输出，本研究旨在解决目前缺乏上下文文件的现在频繁的行为，将文化上不熟悉的声音到创造性的输出。新作品的公开音乐会展示将把通常独立的印度音乐和电声音乐世界结合起来，而观众的观点将通过采访和问卷调查整理公众对异国情调声音的接受。在国际计算机音乐会议（ICMC）和电子音乐研究网络会议（EMS）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，同时暴露印度音乐的方面，传统上不熟悉这些做法的研究领域。除此之外，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。委托新的电声音乐作品利用声音档案将继续研究的影响和影响超出了项目的资助期限。

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.