How can the study of studio practices used in experimental rock music of the 1960s and 1970s help inform electroacoustic music composition nowadays? How and why should we approach electroacoustic music composition from the perspective of rock production? Can the two sides be compared in terms of aesthetic approaches and production techniques? How can the notions of “studio improvisation” and “studio as instrument” be explored further?
Yannis's project proposes to explore the different intersections between experimental rock music of the 1960s and 1970s and electroacoustic music, with regard to studio practices and production techniques, and their creative possibilities. The goal of the research will be to investigate the historical, technical and aesthetic context as well as the mutual feedback relationship between these studio practices and his work as a composer.
The research outcomes will be communicated through (1) a written dissertation where the theoretical ideas, historical insights and critical thoughts will be expressed and (2) the form of music compositions. The dissertation will include an extensive analysis of his compositional work including the working methods, documentation of problem-solving, artistic orientation and technical aspects.The compositional work will include fixed-media compositions, open scores for improvising ensembles and combinations of these two forms.