{"id":{"repo_id":"oxford-brookes","oai_identifier":"tle:7a0ab801-f98c-4c87-b825-0998385fd629:d6bd9758-527a-46cd-bfe2-c433766e8fca:1"},"canonical_url":"https://search.dev.ndltd.org/etd/oxford-brookes/tle:7a0ab801-f98c-4c87-b825-0998385fd629:d6bd9758-527a-46cd-bfe2-c433766e8fca:1","repository":{"repo_id":"oxford-brookes","name":"Oxford Brookes University","base_url":"https://radar.brookes.ac.uk/radar/oai"},"display":{"title":"Music, Sound, Space and Time: A practice-based spectromorphological and space-form investigation in composition and performance","abstract":"This commentary is a record of my research into the spatial characteristics in my composition and its relationship with the concepts of spectromorphology and space-fonn as proposed by Denis Smalley. My research is also info1med by the ideas of oneiric phenomenological experience of place (the home) in Gaston Bachelard's The Poetics of Space and the way Brandon Labelle extends those ideas in parts of Acoustic Territories: Sound Culture and Everyday Life. I contextualise my research with reference to composers who use space as a primary concept in their work. Phil Niblock, Steve Roden, Theodo1is Lotis and John Luther Adams have all informed my work with their differing expositions of spatial detail. My works manipulate sound to create spaces in compositions that reference ideas of human experience by Bachelard and Labelle using the tool-kit that Smalley provides. In my original contribution to knowledge I identify Smalley' s concept of transcontextuality in its ambiguous and acousmatic setting (to create imagined extrinsic connections in the listener) as a conceptual bridge between spectromorphology and the poetic image that is the genesis of oneiric reve1ie in The Poetics of Spa,ce and extended into the realm of acoustic ten-itory by Brandon Labelle. I also use Smalley' s concept of behavioural spaces and extend this to include transcontextual behaviour of oneiric reverie in a domestic setting that references my own research pieces. In summary I revisit my research questions in light of the pieces I have researched and reflect on how they have been engaged with. I also survey the research pieces and draw out examples of where oneiric experiences are invited and possible in the music. I draw conclusions that the oneiric transcontextual possibilities are linked directly to spatial properties in composition and define some basic parameters where the research shows they can exist.","abstract_html":"This commentary is a record of my research into the spatial characteristics in my composition and its relationship with the concepts of spectromorphology and space-fonn as proposed by Denis Smalley. My research is also info1med by the ideas of oneiric phenomenological experience of place (the home) in Gaston Bachelard's The Poetics of Space and the way Brandon Labelle extends those ideas in parts of Acoustic Territories: Sound Culture and Everyday Life. I contextualise my research with reference to composers who use space as a primary concept in their work. Phil Niblock, Steve Roden, Theodo1is Lotis and John Luther Adams have all informed my work with their differing expositions of spatial detail. My works manipulate sound to create spaces in compositions that reference ideas of human experience by Bachelard and Labelle using the tool-kit that Smalley provides. In my original contribution to knowledge I identify Smalley' s concept of transcontextuality in its ambiguous and acousmatic setting (to create imagined extrinsic connections in the listener) as a conceptual bridge between spectromorphology and the poetic image that is the genesis of oneiric reve1ie in The Poetics of Spa,ce and extended into the realm of acoustic ten-itory by Brandon Labelle. I also use Smalley' s concept of behavioural spaces and extend this to include transcontextual behaviour of oneiric reverie in a domestic setting that references my own research pieces. In summary I revisit my research questions in light of the pieces I have researched and reflect on how they have been engaged with. I also survey the research pieces and draw out examples of where oneiric experiences are invited and possible in the music. I draw conclusions that the oneiric transcontextual possibilities are linked directly to spatial properties in composition and define some basic parameters where the research shows they can exist.","abstract_has_math":false,"creators":["Eyre, Stephen Andrew"],"institution":"Oxford Brookes University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2021,"date_issued":"2021","date_published":"2021","updated_at":"2026-07-24T03:43:40Z","subjects":[],"languages":["en"],"rights":["All rights reserved"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://doi.org/10.24384/7bpc-y574","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Eyre, Stephen Andrew"]},{"key":"dc:creator","label":"Author","values":["Eyre, Stephen Andrew"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2021"]},{"key":"dc:publisher","label":"Institution","values":["Oxford Brookes University"]},{"key":"dc:type","label":"Dc Type","values":["thesis"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["All rights reserved"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.24384/7bpc-y574","https://radar.brookes.ac.uk/radar/file/7a0ab801-f98c-4c87-b825-0998385fd629/1/Eyre2021MusicSoundSpaceTime.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This commentary is a record of my research into the spatial characteristics in my composition and its relationship with the concepts of spectromorphology and space-fonn as proposed by Denis Smalley. My research is also info1med by the ideas of oneiric phenomenological experience of place (the home) in Gaston Bachelard's The Poetics of Space and the way Brandon Labelle extends those ideas in parts of Acoustic Territories: Sound Culture and Everyday Life. I contextualise my research with reference to composers who use space as a primary concept in their work. Phil Niblock, Steve Roden, Theodo1is Lotis and John Luther Adams have all informed my work with their differing expositions of spatial detail. My works manipulate sound to create spaces in compositions that reference ideas of human experience by Bachelard and Labelle using the tool-kit that Smalley provides. In my original contribution to knowledge I identify Smalley' s concept of transcontextuality in its ambiguous and acousmatic setting (to create imagined extrinsic connections in the listener) as a conceptual bridge between spectromorphology and the poetic image that is the genesis of oneiric reve1ie in The Poetics of Spa,ce and extended into the realm of acoustic ten-itory by Brandon Labelle. I also use Smalley' s concept of behavioural spaces and extend this to include transcontextual behaviour of oneiric reverie in a domestic setting that references my own research pieces. In summary I revisit my research questions in light of the pieces I have researched and reflect on how they have been engaged with. I also survey the research pieces and draw out examples of where oneiric experiences are invited and possible in the music. I draw conclusions that the oneiric transcontextual possibilities are linked directly to spatial properties in composition and define some basic parameters where the research shows they can exist."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Music, Sound, Space and Time: A practice-based spectromorphological and space-form investigation in composition and performance"]}]}],"canonical_facts":{"dc:contributor":["Eyre, Stephen Andrew"],"dc:creator":["Eyre, Stephen Andrew"],"dc:date":["2021"],"dc:description":["This commentary is a record of my research into the spatial characteristics in my composition and its relationship with the concepts of spectromorphology and space-fonn as proposed by Denis Smalley. My research is also info1med by the ideas of oneiric phenomenological experience of place (the home) in Gaston Bachelard's The Poetics of Space and the way Brandon Labelle extends those ideas in parts of Acoustic Territories: Sound Culture and Everyday Life. I contextualise my research with reference to composers who use space as a primary concept in their work. Phil Niblock, Steve Roden, Theodo1is Lotis and John Luther Adams have all informed my work with their differing expositions of spatial detail. My works manipulate sound to create spaces in compositions that reference ideas of human experience by Bachelard and Labelle using the tool-kit that Smalley provides. In my original contribution to knowledge I identify Smalley' s concept of transcontextuality in its ambiguous and acousmatic setting (to create imagined extrinsic connections in the listener) as a conceptual bridge between spectromorphology and the poetic image that is the genesis of oneiric reve1ie in The Poetics of Spa,ce and extended into the realm of acoustic ten-itory by Brandon Labelle. I also use Smalley' s concept of behavioural spaces and extend this to include transcontextual behaviour of oneiric reverie in a domestic setting that references my own research pieces. In summary I revisit my research questions in light of the pieces I have researched and reflect on how they have been engaged with. I also survey the research pieces and draw out examples of where oneiric experiences are invited and possible in the music. I draw conclusions that the oneiric transcontextual possibilities are linked directly to spatial properties in composition and define some basic parameters where the research shows they can exist."],"dc:format":["application/pdf"],"dc:identifier":["https://doi.org/10.24384/7bpc-y574","https://radar.brookes.ac.uk/radar/file/7a0ab801-f98c-4c87-b825-0998385fd629/1/Eyre2021MusicSoundSpaceTime.pdf"],"dc:language":["en"],"dc:publisher":["Oxford Brookes University"],"dc:rights":["All rights reserved"],"dc:title":["Music, Sound, Space and Time: A practice-based spectromorphological and space-form investigation in composition and performance"],"dc:type":["thesis"]},"updated_at":"2026-07-24T03:43:40Z"}