Dances and chorales: for two violins and electronics
- Submitting institution
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Cardiff University / Prifysgol Caerdydd
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 121397360
- Type
- J - Composition
- Month
- -
- Year
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- Written for the Retorica violin duo (Harriet Mackenzie and Philippa Mo), Dances and Chorales consists of 7 movements: 3 chorales and 4 dances. Organised as a suite, the dances interspersed with contrasting chorales, the piece explores live electronic looping (using SooperLooper software), simple processing (using Ableton Live), quartertones, and performer vocalisation (shouting/singing).
The Dances are structured through combinations of textural layering and sudden juxtapositions of materials. Three of the dance movements explore live looping to establish tempo (‘Dervish’ uses SooperLooper’s speed multiplication/division function), to build up layers generating hockets and polyrhythmic textures (‘Nyanga Dance’is based on a Southern African communal performance tradition), and to create large-scale structural effects (Sketchy Swing). A workshop and the performances demonstrated both the practical challenges and potential of these techniques – there are challenges to be overcome, but they are achievable with careful practice.
The Chorales explore a harmonic language which grows out of the combination of quartertonally-inflected pitch-content with various electronic processes. This is highlighted through the use of a single melodic line which is repeated a number of times in each chorale movement, re-harmonised on each appearance, and each chorale uses a different electronic process, allowing a close study of the potential of this approach.
The piece grew out of my on-going working relationship with the members of Retorica, and incorporates aspects of their playing and musical interests. Experimentation with software and the development of materials commenced in 2014, during a sabbatical, followed by a workshop performance of sections (March 2015), a two-day workshop exploring materials and developing a performance practice (July 2016), and a public performance (April 2018). All took place at Cardiff University School of Music. The score is published by Composers Edition.
- Author contribution statement
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- Non-English
- No
- English abstract
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