Recomposing the seventeenth century
- Submitting institution
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The Royal Academy of Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- RAM007
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Portfolio of compositions and recordings
- Open access status
- Out of scope for open access requirements
- Month
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- Year
- 2020
- 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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- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- Long duration creative work.
- Reserve for an output with double weighting
- No
- Additional information
- The compositions submitted form a single investigation in which materials from across the seventeenth century (and late sixteenth century) are used as sources in a project that explores the interstitial relationship between ‘arrangement’ and ‘composition’ and engages critically with the historical development of musical forms through the century and their associated performance practices. The following compositions are included - all (except for no. 3) are published by Verlag Neue Musik, Berlin: 1. Lachrymae Variations for 15 solo strings (2016); 2. Concerto per flauto a becco e violino su temi Torelli for solo recorder, violin, and strings (2018); 3. Consort Set in Five Parts (after William Lawes) for ensemble (2019) [studio recording released online in March 2020]; 4. Farnabye’s Maske for piano (2017); 5. Lord Herbert’s Pavan for guitar (2019); 6. For some friends (after Matthew Locke) for violin and piano (2020); 7. Barafostus’ Dreame for quarter-tone accordion (2020). The following CD is also included: Variations on John Dowland (Toccata Classics, 2017). The booklet notes describe the enquiry for a non-research audience. This CD also includes the composition Forlorn Hope, which was submitted in REF2014. A further CD containing compositions 2, 3, 4, and 6 is in preparation, but significantly delayed because of COVID-19. The source materials used are as follows: 1. Keyboard settings of Dowland’s Flow my teares by Byrd, Farnaby, Morley, Randall, Scheidemann, and Sweelinck; 2. The Augsburg print of concertos 3, 4, 5, 6, 8, 9, and 10 from Torelli’s op. 6 Concerti musicali; 3. William Lawes Consort Set a5 in a minor; 4. Keyboard works by Giles Farnaby in the Fitzwilliam Virginal Book; 5. Lute pieces by Daniel Bacheler and Robert Johnson from the Lute Book of Lord Herbert of Cherbury; 6. The Broken Consort by Matthew Locke; 7. Barafostus’ Dreame (anon.) in the Fitzwilliam Virginal Book.
- Author contribution statement
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- Non-English
- No
- English abstract
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