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Decomposition has been developed by Philip Brophy to showcase a wide range of composers working on shorts and installations in Melbourne. All artists studied at Media Arts and undertook the Soundtrack component of the course when Philip Brophy lectured there up to 2003.
The notion of 'descoring' is something Philip has written about in numerous articles. It deals with ways in which one can explore ways counter to the European 19C models of composition where music is built-up to match (emotionally and synchronously) on-screen action. While this approach generated fascinating work in the early developments of live film accompaniment, the transpotion of this tactic onto the recorded film soundtrack is largely responsible for the archaic and non-modern aspects of movie music - especially grandiose orchestral music - as it persists today.
Philip has advocated a redress of this balance both in his writing and own compositions through promoting many examples in film history which "descoring' is then not neccessarily a destructive anti-music notion, but rather an allowance for music to be parallel to the on-screen action. Sometimes sound and image are mismatched, mistimed, misaligned; other times one is indifferent to the other. Sometimes sound extends beyond the span of the image-track; other times is reduced so as to shrink away from image. These approaches and many more offer a wide range of psychological possibilities when their effects are infused into a film's narrative.
The Descore tracks are all examples of these approaches.
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Complete contents of this page © Philip Brophy