(De)Composing Immersion.

Clerc's dissertation explores various perspectives on the term immersion, and its relation with, and transformation through, a composer’s practice. Immersion is presented as a key term to interconnect diverse aspects of musical practice and music listening with their various phenomenological and ontological implications.
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Miguelángel Clerc

Keywords: composition, listening, immersion, openness, being-with, reality, virtuality, spatiality
Duration: 2008-2014
Period: 21st century music
Musician type: composer
Host institution: Leiden University

Immersion through music is proposed as a transitional experience that exposes and interrelates multiple layers of reality, questioning critically the tendency to think immersion as an experience within a particular or self-contained space (in music, in a book, in a virtual environment, in thoughts, in water, in a music hall, etc.).

Clerc's compositions What about Woof? (for five percussionists and video installation), La línea desde el Centro (for twelve guitarists), Eufótica (for six percussionists and tape) and A Bao A Qu (M) (for nine musicians and tape), analyzed and developed through his research trajectory, are the main artistic source to develop the ideas of each chapter of this investigation. The compositional processes described and the reflections about immersion derived from them offer diverse perspectives on the practical and phenomenological aspects of music composition, performance and listening.

Prof. Frans de Ruiter (1st promotor), Prof. Richard Barrett (2nd promotor), Dr. Marcel Cobussen (co-promotor)