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

在过去几年里，将陌生文化的声音融入自己的创作作品中，已经成为电声音乐作曲家越来越受欢迎的活动；然而，这种性质的作品很难不被指控为挪用或剥削，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，为印度音乐探索将特定于文化的声音纳入新的电声音乐作品(使用技术探索、创造和表演声音的作曲)。与传统的音符器乐不同，电声音乐可以通过音频采样从字面上表达异国情调的引用。本研究将考察收集印度乐器中的印度文化声音并将其融入两首新的电声音乐作品的过程。该项目由利物浦希望大学的Milapfest(英国国家印度艺术信托基金)协调和支持，将使人们能够与世界知名音乐家互动，建立一种独特的合作体验，调查对文化声音(即作为特定文化而经历的声音)的感知和理解。实践引导的研究(作曲工作)将通过借用与我自己的文化背景和经历不同的文化的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，并在一篇新的期刊文章中更正式地呈现。音乐作品，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形式，将建立在关于使用文化声音的好处、影响和问题的论述的基础上。通过这些输出，这项研究旨在解决目前缺乏关于将文化上不熟悉的声音融入创造性输出的频繁行为的背景文献的问题。新作品的公开音乐会展示将把印度音乐和电声音乐这两个通常分开的世界联系在一起，而观众的视角将通过采访和问卷调查来整理公众对异国声音的接受情况。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学者对文化声音的创造性使用产生进一步的兴趣和考虑，同时将印度音乐的一些方面暴露给一个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建立一个免费访问的教育和研究资源，出现在Milapfest的在线门户网站上。利用声音档案委托制作新的电声音乐作品将在项目资助期限之外继续发挥研究的影响和影响。

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.