An Investigation of Post-Digital Aesthetics in Glitch Music and the Development of Psychoacoustic Phenomena as Compositional Tools.
This thesis aims to undertake two tasks; the Jirst of which involves conducting a critical review of glitch music, from its early beginning to the current state of the art. This process involves exploring a multitude of glitch related topics such as early inJluences on the genre, compositional approaches and musical structure. It is only possible to progress the genre past its academic infancy by gaining an in depth understanding of what lies behind the music. The second task involves developing a set of psychoacoustic phenomenon based tools for use in a glitch music scenario. The psychoacoustic tools are based upon Albert Bregman and Pierre AhadÕs research regarding the human auditory systemÕs method of deconstructing aural environments into their basic sound components. The aim is to subtly incorporate these demonstrations into a piece of glitch music using both glitch sound artifacts withdrawn from the medium and pure sine tones which are used to demonstrate the original examples but also adhere to post-digital tendencies in contemporary music.