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dc.contributor.authorSmith, Louis Virgil
dc.date.accessioned2020-07-22T07:58:01Z
dc.date.available2020-07-22T07:58:01Z
dc.date.issued2020en_US
dc.identifier.urihttp://hdl.handle.net/11343/241561
dc.description© 2020 Louis Virgil Smith
dc.description.abstractThis paper seeks to explore the ways in which loudness is used as a compositional device throughout three different performances by artists Sunn O))), Merzbow and Cat Hope. Section one discusses the concept of loudness as both an acoustic phenomenon, that enhances affective experiences, and as a cultural signifier, in which affirms scene identities that base their music on the use of loudness. This section also examines the literature on the use of loudness in extreme contemporary music in particular. Section two consists of case studies which analyse recordings of recent live performances from Sunn O))), Merzbow and Cat Hope. These analyses via spectrographs discuss the compositional framework of the performances, the performance techniques used, and the technical production of the sound, in relation to the use of extreme volume.en_US
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dc.subjectLoudnessen_US
dc.subjectExtreme Contemporary Musicen_US
dc.subjectSpectrographsen_US
dc.subjectMerzbowen_US
dc.subjectSunn O)))en_US
dc.subjectCat Hope.en_US
dc.titleMaximum volume yields maximum results: loudness as a compositional device in extreme contemporary musicen_US
dc.typeHonours thesisen_US
melbourne.affiliation.departmentSchool of Contemporary Music
melbourne.affiliation.facultyFine Arts and Music
melbourne.thesis.supervisornameTochka, Nicholas
melbourne.contributor.authorSmith, Louis Virgil
melbourne.accessrightsOnly available to University of Melbourne staff and students, login required


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