Jones, Elfyn. 2022. Sound design for the opera composer: concepts and methods. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Abstract or Description

Sound design has become an important part of theatre, film and contemporary opera, and a creative discipline in its own right. A pattern of convergence between music and sound has emerged during the last two decades across these disciplines. My project investigates this convergence, reviewing the literature and recent sound practice in opera, theatre (particularly Composed Theatre) and film (both live action and animation). This review explores concepts including soundscape, immersion, acousmêtre, the sonic Umwelt and phenomenologies and semiotics of sound through the writings of Michel Chion, Nicholas Cook, R Murray Shafer, Theo Van Leeuwen and others. It also examines the role of sound in the work of practitioners such as composers Steve Reich, John Adams, Heiner Goebbels and Anthony Davis and their collaborators, and sound designers such as Gary Rydstrom, Nicolas Becker and Kristian Selin Eidnes Andersen in film, and Ross Brown and Complicité in theatre.

From this review I draw out features, or modalities, of existing sound practice with the potential to be integrated into opera composition. I define these modalities as: sound as environment, sound as music, sound as action, sound as inner voice, and sound as sign. These modalities form a theoretical basis upon which to develop a method of opera composition in which sound design is integral. This forms the focus of this project, in particular the objective of moving beyond current practice to create opera with integrated sound design that exemplifies a dynamic and transactional relationship between sound, music and other elements. My three chamber operas Her face was of flowers, Vicky and Albert and The Trilobite, Or The Fall of Mr Williams are the result. I discuss the compositional process and performance history of these three pieces in relation to my five modalities of sound, and the models of sound practice that inspired them. Finally, I draw conclusions from the processes of composing, rehearsing and performing these operas that point the way to further development and exploration of opera with integrated sound design, both in my practice and elsewhere, offering the opera composer a new perspective on working with sound.

Item Type:	Thesis (Doctoral)
Identification Number (DOI):	https://doi.org/10.25602/GOLD.00031575
Keywords:	opera, sound design, composition, modalities of sound
Departments, Centres and Research Units:	Music
Date:	28 February 2022
Item ID:	31575
Date Deposited:	09 Mar 2022 17:06
Last Modified:	07 Sep 2022 17:19
URI:	https://research.gold.ac.uk/id/eprint/31575

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