This paper examines the capabilities of Vocaloid synthesis software as a featured solo instrument in an original composition entitled “Real”: Concerto for Vocaloid, scored for an ensemble of vocalists, chamber orchestra, laptop performers who trigger Vocaloid playback and process electronic audio live, and multimedia elements that include video, staging, and lighting design. This paper discusses the inherent compositional issues of implementing Vocaloid within a concerto and multimedia setting through an examination of identity (reality vs. virtuality), the process of composing a concerto, and methods of creation. “Real”: Concerto for Vocaloid explores appropriation techniques, adaptation of electro-acoustic practices (and the subsequent inheritance of certain styles), and the use of a narrative involving crowd-sourced creativity, hyper-reality, consumerism, and the Vocaloid virtual instrument as a performer and platform.
|Commitee:||Bremer, Carolyn, Shockley, Alan|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 58/01M(E), Masters Abstracts International|
|Subjects:||Musical composition, Music|
|Keywords:||Appropriation, Composition, Concerto, Hatsune Miku, Remix, Vocaloid|
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