A recap of my recent peer-reviewed academic publications on collaborative and mobile music making. These include 1 book chapter and 2 journal articles.
2024 ‘Connecting across borders: Communication tools and group practices of remote music collaborators’, in Innovation in Music: Cultures and Contexts. Routledge, London 247-263.
This chapter was a few years in the making as some sections draw on my PhD research in this area. It’s included in the collected edition ‘Innovation in Music: Cultures and Contexts‘ published by Routledge earlier this year. The digital version is available at: https://dx.doi.org/10.4324/9781003462101-18
2023 Koszolko, M. K. and Studley, T. ‘From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment‘, in Organised Sound; 28(3):338-351. Cambridge University Press. doi: 10.1017/S1355771823000547
Organised Sound belongs to my favourite music journals, so it feels a bit like releasing music on a well-respected label. This paper was co-written with Thomas Studley (a wonderful academic collaborator) and we discuss strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation.
It’s published as Open Access (OA) so you should be able to access it without any restrictions.
2023 ‘Ngannelong / Hanging Rock‘, in Sightlines Journal, Issue 5.
This short paper discusses Ngannelong / Hanging Rock – a music video resulting from my practice-led research into the affordances of mobile music and video making technologies. The video and field audio were recorded during one of the respites in between multiple lockdowns in Melbourne, Australia, 2020-2021. The track features samples recorded on location at Ngannelong, also known as Hanging Rock in central Victoria, Australia, where the people from the Kulin nation have lived for more than 26,000 years.
Ngannelong / Hanging Rock signifies the practical implementation of the model of setting-based mobile music creation (Koszolko 2021). In this model, I list a range of elements inclusive of Pre-production, Instrumental Performance, Mixing and Effect Processing, Algorithmic Composition, Sequencing and Post-production. The processes embedded in this model allow for the highlighting of the impact of the place on the creative outcome. Performative storytelling explored in my work is site-specific and relies on iOS-based technologies.
Here is a video discussed in the paper.
For more research publications, you can visit a sub-page of this blog linked below.
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