{"id":{"repo_id":"glasgow","oai_identifier":"oai:theses.gla.ac.uk:1551"},"canonical_url":"https://search.dev.ndltd.org/etd/glasgow/oai:theses.gla.ac.uk:1551","repository":{"repo_id":"glasgow","name":"University of Glasgow","base_url":"https://theses.gla.ac.uk/cgi/oai2"},"display":{"title":"Hearing voices: electroacoustic composition portfolio and commentary","abstract":"The concept of voice is a fundamental thread that underpins my PhD portfolio, with the human voice being present in all but one of the compositions. The drive to make what I think of as 'voice works' has, to a large extent, been influenced by various theatrical vocal practices that are in some way concerned with the development of the natural voice. Such practices help to facilitate a broad potentiality of expression, not only through, but before or beyond text. No one method or theory has had primary influence on my work but rather, in the broadest sense, I recognise a set of affinities with many notable influential practices including that of Roy Hart Theatre; Kristin Linklater; David Moss; Joan La Barbara; Sainkho Namtchylak; and Jaap Blonk. The complicating factor, in every case, is that I also draw on a range of electroacoustic influences.Trevor Wishart's many ideas about 'the human repertoire' - vocal utterance, paralanguage, sound morphology and transformative compositional processes - are perhaps most relevant. But I have also drawn from Denis Smalley's spectromorphological concepts, particularly those pertaining to the aural perception of human gesture. My listening generally has been quite wide-ranging across genres but includes the work of Francois Bayle, Bernard Parmegiani, Francis Dhomont, Robert Normandeau, Natasha Barrett, Dennis Smalley, Yannis Kyriakides, Michel Chion and Heiner Goebels.","abstract_html":"The concept of voice is a fundamental thread that underpins my PhD portfolio, with the human voice being present in all but one of the compositions. The drive to make what I think of as 'voice works' has, to a large extent, been influenced by various theatrical vocal practices that are in some way concerned with the development of the natural voice. Such practices help to facilitate a broad potentiality of expression, not only through, but before or beyond text. No one method or theory has had primary influence on my work but rather, in the broadest sense, I recognise a set of affinities with many notable influential practices including that of Roy Hart Theatre; Kristin Linklater; David Moss; Joan La Barbara; Sainkho Namtchylak; and Jaap Blonk. The complicating factor, in every case, is that I also draw on a range of electroacoustic influences.Trevor Wishart's many ideas about 'the human repertoire' - vocal utterance, paralanguage, sound morphology and transformative compositional processes - are perhaps most relevant. But I have also drawn from Denis Smalley's spectromorphological concepts, particularly those pertaining to the aural perception of human gesture. My listening generally has been quite wide-ranging across genres but includes the work of Francois Bayle, Bernard Parmegiani, Francis Dhomont, Robert Normandeau, Natasha Barrett, Dennis Smalley, Yannis Kyriakides, Michel Chion and Heiner Goebels.","abstract_has_math":false,"creators":["Scrutton, Nichola Jane"],"institution":"University of Glasgow","degree_name":null,"degree_level":"PhD","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2009,"date_issued":"2009","date_published":"2009","updated_at":"2026-07-24T02:24:01Z","subjects":["M Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://doi.org/10.5525/gla.thesis.1551","outbound_label":"DOI","outbound_source":"dc:identifier.doi"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Scrutton, Nichola Jane"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2009"]},{"key":"dc:date.issued","label":"Date","values":["2009"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Glasgow"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://theses.gla.ac.uk/1551/"]},{"key":"dc:relation.isreferencedby.uri","label":"Dc Relation Isreferencedby URI","values":["https://gla.on.worldcat.org/oclc/1547496548"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","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.doi","label":"DOI","values":["10.5525/gla.thesis.1551"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The concept of voice is a fundamental thread that underpins my PhD portfolio, with the human voice being present in all but one of the compositions. The drive to make what I think of as 'voice works' has, to a large extent, been influenced by various theatrical vocal practices that are in some way concerned with the development of the natural voice. Such practices help to facilitate a broad potentiality of expression, not only through, but before or beyond text. No one method or theory has had primary influence on my work but rather, in the broadest sense, I recognise a set of affinities with many notable influential practices including that of Roy Hart Theatre; Kristin Linklater; David Moss; Joan La Barbara; Sainkho Namtchylak; and Jaap Blonk. The complicating factor, in every case, is that I also draw on a range of electroacoustic influences.Trevor Wishart's many ideas about 'the human repertoire' - vocal utterance, paralanguage, sound morphology and transformative compositional processes - are perhaps most relevant. But I have also drawn from Denis Smalley's spectromorphological concepts, particularly those pertaining to the aural perception of human gesture. My listening generally has been quite wide-ranging across genres but includes the work of Francois Bayle, Bernard Parmegiani, Francis Dhomont, Robert Normandeau, Natasha Barrett, Dennis Smalley, Yannis Kyriakides, Michel Chion and Heiner Goebels."]},{"key":"dc:title","label":"Title","values":["Hearing voices: electroacoustic composition portfolio and commentary"]}]}],"canonical_facts":{"dc:creator":["Scrutton, Nichola Jane"],"dc:date":["2009"],"dc:date.issued":["2009"],"dc:description.abstract":["The concept of voice is a fundamental thread that underpins my PhD portfolio, with the human voice being present in all but one of the compositions. The drive to make what I think of as 'voice works' has, to a large extent, been influenced by various theatrical vocal practices that are in some way concerned with the development of the natural voice. Such practices help to facilitate a broad potentiality of expression, not only through, but before or beyond text. No one method or theory has had primary influence on my work but rather, in the broadest sense, I recognise a set of affinities with many notable influential practices including that of Roy Hart Theatre; Kristin Linklater; David Moss; Joan La Barbara; Sainkho Namtchylak; and Jaap Blonk. The complicating factor, in every case, is that I also draw on a range of electroacoustic influences.Trevor Wishart's many ideas about 'the human repertoire' - vocal utterance, paralanguage, sound morphology and transformative compositional processes - are perhaps most relevant. But I have also drawn from Denis Smalley's spectromorphological concepts, particularly those pertaining to the aural perception of human gesture. My listening generally has been quite wide-ranging across genres but includes the work of Francois Bayle, Bernard Parmegiani, Francis Dhomont, Robert Normandeau, Natasha Barrett, Dennis Smalley, Yannis Kyriakides, Michel Chion and Heiner Goebels."],"dc:identifier.doi":["10.5525/gla.thesis.1551"],"dc:publisher.institution":["University of Glasgow"],"dc:relation.isreferencedby":["https://theses.gla.ac.uk/1551/"],"dc:relation.isreferencedby.uri":["https://gla.on.worldcat.org/oclc/1547496548"],"dc:subject":["M Music"],"dc:title":["Hearing voices: electroacoustic composition portfolio and commentary"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["PhD"]},"updated_at":"2026-07-24T02:24:01Z"}