'Sitio' for organ, duration c.15 minutes.
- Submitting institution
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Royal College of Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 19
- Type
- J - Composition
- Month
- -
- Year
- 2019
- URL
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http://researchonline.rcm.ac.uk/id/eprint/1263/
- 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
- No
- Reserve for an output with double weighting
- No
- Additional information
- Sitio, for organ, can be seen as advancing elements in my thinking that have developed over a number of years in pieces such as Aenaa (2014), Dyades (2016), Thalatta (in progress) Pauline (2017) and Athróa (2018). Dominating each of these pieces is the intention to create a merged artwork through a single action that consists of making visual art and making music. I began with a series of small pencil drawings based on repetitive and thus meditative action focused on a minuscule scale, minimal engagement with ideas of material, and allowing forms to ‘grow’ without pre-meditation or decision-making. More specifically, it consists of drawing fine lines next to one another so close that they become merged into a textured surface. As this grows (spreads) it results in forms that can be sculptural, appearing almost representational, but not pre-imagined or pre-planned; simply emerging gradually, guided by the growing surface. The ‘note-swapping’ method I employ when working with musical line carries no literal similarity with the visual works. However, the feeling I get when composing with this approach is similar to the one I have when drawing lines: it requires repetition of movement that is in constant variation, is written intuitively from the micro-scale and with minimal sense of basic material. ‘Note-swapping’ in Sitio exploits colour variation derived from organ registration, an effect similar to that of bisbigliando (timbral or key trill – the same pitch produced by different fingerings, resulting in minute changes in intonation) for woodwinds, which thereby contributes to the building of harmony and movement. In spite of the parallels I have evolved between my music and visual art, the products in each medium are in the end related only by my making of them. They currently remain separate and must be experienced as such.
- Author contribution statement
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- Non-English
- No
- English abstract
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