YATES, DANE;
Yates, D. (2015). Defining Fixed Media in Electroacoustic Music
Proposing a definition for fixed media within compositional and performative mixed media practices
West Australian Academy of Performing Arts | Edith Cowen University
Yates, D. (2015). Methodologies in Collaboration Leading to New Performative Material Generating Compositional and Improvisational Material.
Using Dance Practice as a Means of creating new material for musical improvisation and composition.
West Australian Academy of Performing Arts | Edith Cowen University
Abstract
This paper attempts to analyze and describe a number of composition techniques used for interactive performance art, collaboration between music and dance, and music dependent on real-time dynamics and gestures of dance performers. The paper describes pertinent work of Dane Yates, a composer working in collaborative efforts with dancers in Perth, WA, using new and innovative ‘scoring’ techniques for both dancers and musical performers, including graphical, semantic and audible sonic scores leading to a new composition technique of ‘corrupted data’, a void in communication from composer to musical performer. The paper draws conclusions that point to a further development in dance orientated scoring for musical practice leading to the use of more electronic focused works of an interactive nature. The contents presents motivation and documentation of two pieces by Yates, ‘Teaspoons I’ (for two dancers and two instruments) [2014] and ‘[teaspoons and variations]’ (for prerecorded piano, iPods, dancers and winds) [2014], featuring analysis of the recordings of the two respective pieces, as well as interviews and reflections of the performers involved in both pieces. Also discussed are current studies and ongoing research into the subject of a performative model and structuring formal boundaries between the performance of a composition and a meta-composition.
2 0 1 4
Yates, D. (2014). The Romantic Aesthetic Divide. West Australian Academy of Performing Arts | Edith Cowen University
|
Abstract
This article illustrates the contradicting aesthetic viewpoints of the latter half of the nineteenth century. While the more conservative composers as well as music critic Eduard Hanslick believed in absolute music1 and that it was beautiful standing as itself whilst Wagner, and the New German School believed in the importance of programme music and an underlying context being the true art. Full Paper Here |
2 0 1 3
Yates, D. (2013). "“I Feel The Air Of Other Planets” [The 20th Century Success of New Sonic Territories]."West Australian Academy of Performing Arts | Edith Cowen University
Yates, D. (2013). "“I Feel The Air Of Other Planets” [The 20th Century Success of New Sonic Territories]."West Australian Academy of Performing Arts | Edith Cowen University
|
Abstract
This article looks at the success of 20th Century Composers exploring new sonic territories. It shows the radical change between movements, technologies founded and innovative ways of scoring and producing music. It discusses the influence Schoenberg had on future composers, new instruments created by the futurist Luigi Russolo, the minimalist movement, the early stages of electronic and concrete movements as well as the need for new notation and scoring systems.Composers found great success within their search creating new movement within music, new instrumentation, innovative ways of composition and ultimately, original ways in which to score their pieces. |