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This thesis examines composing with acoustic feedback, revealing its potential in experimental music and performance.
This thesis explores composing with acoustic feedback as a spatial instrument. Acoustic feedback first appeared in rock recordings, then spread to contemporary music. This text argues that feedback can be composed and provides different methods for interacting with and controlling it. By contextualizing acoustic feedback, analyzing the work of other artists, and exploring my own journey with experimental composition with feedback, this thesis delves into the potential of feedback as an instrument invisible to the eye, yet magical.
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Arefeh Hekmatpanah (2026) studied this question.
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