{"id":{"repo_id":"city-london","oai_identifier":"oai:openaccess.city.ac.uk:8482"},"canonical_url":"https://search.dev.ndltd.org/etd/city-london/oai:openaccess.city.ac.uk:8482","repository":{"repo_id":"city-london","name":"City University of London","base_url":"https://openaccess.city.ac.uk/cgi/oai2"},"display":{"title":"Electroacoustic composition indicative of human agency","abstract":"The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice\" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel.","abstract_html":"The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel.","abstract_has_math":false,"creators":["Thomas, J.M."],"institution":"City University London","degree_name":"phd","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2005,"date_issued":"2005-04","date_published":"2005-04","updated_at":"2026-07-24T01:39:14Z","subjects":["M Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Thomas, J.M."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2005-04"]},{"key":"dc:date.issued","label":"Date","values":["2005-04"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","Music"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["City University London"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://openaccess.city.ac.uk/id/eprint/8482/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["phd"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["M Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://openaccess.city.ac.uk/id/eprint/8482/1/Electroacoustic_composition_indicative_of_human_agency.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice\" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Electroacoustic composition indicative of human agency"]}]}],"canonical_facts":{"dc:creator":["Thomas, J.M."],"dc:date":["2005-04"],"dc:date.issued":["2005-04"],"dc:description.abstract":["The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice\" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel."],"dc:format":["application/pdf"],"dc:identifier.uri":["https://openaccess.city.ac.uk/id/eprint/8482/1/Electroacoustic_composition_indicative_of_human_agency.pdf"],"dc:publisher.department":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","Music"],"dc:publisher.institution":["City University London"],"dc:relation.isreferencedby":["https://openaccess.city.ac.uk/id/eprint/8482/"],"dc:subject":["M Music"],"dc:title":["Electroacoustic composition indicative of human agency"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["phd"]},"updated_at":"2026-07-24T01:39:14Z"}