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Fictional Music: Creative Portfolio for A Carrier Bag of Electronic Music: Relationality in Human-Machine Interaction

Monash University
Nina Buchanan (Aggregated by)
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ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adc&rfr_id=info%3Asid%2FANDS&rft_id=info:doi10.26180/30817091.v1&rft.title=Fictional Music: Creative Portfolio for A Carrier Bag of Electronic Music: Relationality in Human-Machine Interaction&rft.identifier=https://doi.org/10.26180/30817091.v1&rft.publisher=Monash University&rft.description=This practice-led research project explores the relationship between music makers and machines in the creation of contemporary electronic music. Specifically, it investigates the theoretical and practical possibilities of a collaborative approach to electronic music making, which considers the influence of both musician and machine on the creative process and outcome. This investigation aims to challenge the anthropocentric condition of ontological dualism present in contemporary electronic music culture, where the artist’s vision is prioritised above all else, leading to a position of separation and dominance over our tools. Drawing from more-than-human studies, concepts of material agency and relationality are used to frame the agential properties of electronic music tools, which are brought forth through interaction with specific affordances and constraints. Ursula Le Guin’s “The Carrier Bag Theory of Fiction” (1986) is engaged to further clarify the theoretical and methodological framework from which this work emerges, proposing a Carrier Bag theory of Electronic Music to conceptualise the creative process as inherently relational and interdependent. Drawing on Christopher Small, the enactment of the Carrier Bag theory is described as relational musicking.Practice-led research methodologies are used to explore the relational dynamic between the musician, the Buchla modular synthesiser and the music software Ableton Live, through an investigation of each tool’s agential properties. Creative strategies are developed to foreground a relational approach to electronic music making, involving real-time improvisational processes exploring patching, sequencing, modulation, randomisation and feedback with the Buchla, and developmental processes of editing, arranging, mixing, sampling, and performance in Ableton Live. These processes are informed by concepts of intuition, entrainment and emotional resonance. The research output comprises an exegesis and a portfolio, Fictional Music, which features eight recorded works that demonstrate the creative potential of a relational musicking practice.&rft.creator=Nina Buchanan&rft.date=2025&rft_rights=CC-BY-4.0&rft_subject=Electronic Music&rft_subject=Buchla synthesiser&rft_subject=Ableton Live&rft_subject=Relationality&rft_subject=Material Agency&rft_subject=Ursula Le Guin&rft_subject=A Carrier Bag Theory of Fiction&rft_subject=Music Technology&rft_subject=Experimental Music&rft_subject=Digital Audio Workstation&rft_subject=Collaboration&rft_subject=Musicking&rft_subject=Modular Synthesizer&rft_subject=Intuition&rft_subject=Improvisation&rft_subject=Music composition and improvisation&rft_subject=Music technology and recording&rft.type=dataset&rft.language=English Access the data
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This practice-led research project explores the relationship between music makers and machines in the creation of contemporary electronic music. Specifically, it investigates the theoretical and practical possibilities of a collaborative approach to electronic music making, which considers the influence of both musician and machine on the creative process and outcome. This investigation aims to challenge the anthropocentric condition of ontological dualism present in contemporary electronic music culture, where the artist’s vision is prioritised above all else, leading to a position of separation and dominance over our tools. Drawing from more-than-human studies, concepts of material agency and relationality are used to frame the agential properties of electronic music tools, which are brought forth through interaction with specific affordances and constraints. Ursula Le Guin’s “The Carrier Bag Theory of Fiction” (1986) is engaged to further clarify the theoretical and methodological framework from which this work emerges, proposing a Carrier Bag theory of Electronic Music to conceptualise the creative process as inherently relational and interdependent. Drawing on Christopher Small, the enactment of the Carrier Bag theory is described as relational musicking.


Practice-led research methodologies are used to explore the relational dynamic between the musician, the Buchla modular synthesiser and the music software Ableton Live, through an investigation of each tool’s agential properties. Creative strategies are developed to foreground a relational approach to electronic music making, involving real-time improvisational processes exploring patching, sequencing, modulation, randomisation and feedback with the Buchla, and developmental processes of editing, arranging, mixing, sampling, and performance in Ableton Live. These processes are informed by concepts of intuition, entrainment and emotional resonance. The research output comprises an exegesis and a portfolio, Fictional Music, which features eight recorded works that demonstrate the creative potential of a relational musicking practice.

Issued: 2025-12-08

Created: 2025-12-08

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A Carrier Bag Theory of Fiction | Ableton Live | Buchla synthesiser | Collaboration | Digital Audio Workstation | Electronic Music | Experimental Music | Improvisation | Intuition | Material Agency | Modular Synthesizer | Music Technology | Music composition and improvisation | Music technology and recording | Musicking | Relationality | Ursula Le Guin |

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