Thesis submission ID 901 | created
| last updated
Brian Connolly, Playing the Ear: Non-Linearities of the Inner Ear and their Creative Potential
Volumes, pp.: 1 (152pp and 15pp) + 2 CD + 1 USB Flash Drive
Supervisor(s): Dr Gordon Delap
Repository (online): http://mural.maynoothuniversity.ie/10760/
Repository (hard copy): Maynooth University
General specialism: Musicology
Abstract:
This thesis concerns the application of psychoacoustic phenomena relating to the non-linear nature
of the inner ear as an electroacoustic compositional tool. The compositions included in this portfolio
explore the validity of a variety of non-linear inner ear phenomena within composition by
employing them as primary compositional devices.
Psychoacoustics research into the non-linearities of the inner ear has proven that the inner ear has
much more to offer the composer than has been previously considered. By reversing the role of the
ear from, what Christopher Haworth describes as, 'being a submissive receiver' (184) to becoming an
active participant in the creative process, an exciting level of opportunity opens up for both the
composer and listener. A focus is given in this research to auditory distortion products and
bandwidth phenomena with references to the author's own compositional material.
While it is relatively common for composers to have explored various elements of psychoacoustics
in their work, a project of this size, which explicitly explores such material, has not been carried out
until now. The work of Maryanne Amacher, Alvin Lucier, Diana Deutsch, and others has
highlighted the possibilities of employing psychoacoustic principles in music. This research takes a
new approach by placing a direct focus on the benefits of the utilisation of these non-linear
mechanisms of the inner ear for the composer, while also positing a number of new creative
methodologies with respect to the non-linearities of the inner ear.
Brian Connolly, Playing the Ear: Non-Linearities of the Inner Ear and their Creative Potential
PhD, Maynooth University, 2016
Volumes, pp.: 1 (152pp and 15pp) + 2 CD + 1 USB Flash Drive
Supervisor(s): Dr Gordon Delap
Repository (online): http://mural.maynoothuniversity.ie/10760/
Repository (hard copy): Maynooth University
General specialism: Musicology
Abstract:
This thesis concerns the application of psychoacoustic phenomena relating to the non-linear nature
of the inner ear as an electroacoustic compositional tool. The compositions included in this portfolio
explore the validity of a variety of non-linear inner ear phenomena within composition by
employing them as primary compositional devices.
Psychoacoustics research into the non-linearities of the inner ear has proven that the inner ear has
much more to offer the composer than has been previously considered. By reversing the role of the
ear from, what Christopher Haworth describes as, 'being a submissive receiver' (184) to becoming an
active participant in the creative process, an exciting level of opportunity opens up for both the
composer and listener. A focus is given in this research to auditory distortion products and
bandwidth phenomena with references to the author's own compositional material.
While it is relatively common for composers to have explored various elements of psychoacoustics
in their work, a project of this size, which explicitly explores such material, has not been carried out
until now. The work of Maryanne Amacher, Alvin Lucier, Diana Deutsch, and others has
highlighted the possibilities of employing psychoacoustic principles in music. This research takes a
new approach by placing a direct focus on the benefits of the utilisation of these non-linear
mechanisms of the inner ear for the composer, while also positing a number of new creative
methodologies with respect to the non-linearities of the inner ear.
Thesis submission ID 901