For millennia, music has been a performance-based artform open to continuous variation and reinterpretation. More recently however, industrialisation has allowed for the mass-production of sound recordings, in turn bringing conjecture about the changed ture of music reception in society. This article reflects on related practice-based work by its authors and examines aspects of music production and representation. Technically, this is approached through a range of multi-track recording and sound treatment processes. Artistically, the sound productions highlight aspects of musical compositions, their scores and performances in order to explicitly communicate emotiol interpretation and ongoing research into artistic practice.
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