Fusion: A Critical and Compositional Investigation of Methods for Electroacoustic and Metal Hybidisation

This doctoral research explores the hybridisation of metal and electroacoustic music, developing bespoke methods for combining the two. It combines both theory and practice in the form of a written text and a portfolio of original works. The research develops novel methods and compositional frameworks, including Transformational Hybrid, Fluid Hybrid, Cannibalistic Hybrid, and Total Cannibalistic Hybrid. The written thesis is organised into four parts: the theoretical part, the analysis of existing works, the genre, and the practical part. The theoretical part provides a working definition of hybridity and explores various types of hybridity, leading to the analysis of seven existing hybrid works. The analysis employs Stéphane Roy's Forty-Five Formal Functions to deduce the hybridity strategies present in the pieces in relation to their micro- and macro-forms, informing the practical part. The notions of genre part outlines the characteristics of electroacoustic music and metal that the practical part is interested in hybridising. The practical part includes six chapters, each outlining a working method for a composition while providing novel concepts, frameworks, and strategies. This research is practice-based, in which theory informs practice and practice informs theory. The research began by exploring Levinson's concept of the Transformational Hybrid, which, in turn, developed into a compositional framework and method through experimentation. The result of this process led to Emerson's Polystylism and Eclectic Hybrids, which also turned into compositional frameworks and strategies. This process led to engaging with Alcalde's concepts of Trajectory and Chimeric Environments and the development of the concept and framework of Fluid Hybrid. After this, the research returned to the concept of Transformational Hybrid, focusing on a different framework that would prioritise greater control and complexity in transforming genre materials, leading to the development of the Cannibalistic Hybrid method, with resultant compositions extending the method, culminating in the Total Cannibalistic Hybrid. The research aims to provide a blueprint for any musician who wishes to start hybridising music but does not know where to start.