The wreck of former boundaries
- Submitting institution
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The University of Huddersfield
: A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - Music
- Output identifier
- 61
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Multi-component: Composition and CD including Contextual Information
- Open access status
- -
- Month
- -
- Year
- 2016
- URL
-
-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- 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
- Yes
- Double-weighted statement
- This is a 35-minute composition for two soloists, ensemble, and electronics that was composed over a 2.5-year period (2014–16), including six months of full sabbatical research leave. It contains six shorter standalone works that can be performed independently, any of which would, on their own, be eligible for submission as a REF output, each with significant notational or technical innovations. The submission is further supported with an hourlong research lecture on the approach to rhythmic notation found in the composition, which again on its own would also be eligible for REF submission.
- Reserve for an output with double weighting
- No
- Additional information
- This double trumpet concerto is the largest and longest piece in a conglomerate of seven works, each sharing the same title. The work’s primary innovation is its notation, in particular its approach to rhythm. As detailed in the accompanying lecture video, it proposes two independent models that each enable a prioritisation of speed and duration as fundamental rhythmic notational phenomena. This provides an alternative to the constraints of whole-number subdivision (tuplets) found in traditional rhythmic notation, as well as the loose and non-metrical time-space notations of earlier eras. The work also foregrounds significant new instrumental performance techniques. The most notable of these are found in the clarinet writing, which includes an extensive collection of microtonal double trills, close-interval dyads, and a special category of unpredictable multiphonic double trills in which two additional pairs of unstable trill pitches emerge through overblowing in combination with the register key, these appear here for the first time in the repertoire. The work also develops a technique in which descending chromatic patterns are combined with atypical uses of the R, A, and G# keys (resulting in glissando-like arcs), plus carefully controlled dyads that emerge as these scales ascend from the lowest register. The pitch content of these scales and dyads, as well as concomitant overblown dyads and double trill combinations, are mapped here for the first time. Formally, the work’s organisation draws on concepts of curves, bubbles, and foams, as elaborated in the writings of Sloterdijk, foregrounding a liquidation of the geometric, architectural methodologies that guided my previous work. The form is fluid and shapeshifting: the continuous recombinations of solos and chamber groupings (and their links to gesture, phrase shapes, and instrumental behaviours) emerge and dissolve out of underlying forces of movement, energy, and velocity, set against shifting states of friction, resistance, viscosity, and elasticity.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -