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In this thesis the author explores the term ”misuse” as a methodology of composition, but also proposes to view it as an informal tradition within the history of electronic music. The author explores the possible definitions of the term ”misuse”, proposing to view it as an inherently destabilizing practice, where the practitioner must reject the defining of a strict identity. The author also highlights the shift away from mastery of technology to a more equal, exploratory relationship that occurs within the practice, as well as its ability to chart the materiality of said practice. The author proposes that this tradition re-occurs historically as both a technical, aesthetic and philosophical phenomenon, serving as a progressive force within the wider genre of electronic music and often as part of a consciously rebellious practice. The author explores how this methodology can be applied within their own contemporary compositional practice using the software Ableton Live, chronicling their own explorations of generating sound via different misuses of the software, including sound examples. Finally, the author evaluates the applicability of this method on their own artistic practice through 2 attached compositions, and gives testimony to their experience and insights working with the material.
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Composing With Sounds of Misuse
For this project I have made two compositions. I will discuss some of my aesthetic and technical approaches in composing them as well as how the sounds I have generated have informed this. I will also describe the experiences and lessons I learnt in composing them. I also reflect on the beginnings of an improvisational performance practice.