Multicomponent - enlightenment
- Submitting institution
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Edinburgh Napier University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2096001
- Type
- J - Composition
- Month
- -
- Year
- 2015
- URL
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https://portfolios.napier.ac.uk/view/view.php?t=n2OYLudJ9MGmivPFb6Qe
- 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
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This project extends the practice begun in earlier work, particularly in de contemplationis digitis for flute and piano (Hails 2008), transcribing letters into numbers, and using these numbers to proportion pitch content and duration. In this case, the poem transcribed was by Simon Howard (2013) to whose memory all realisations of enlightenment are dedicated.
Analysis of Luciano Berio's solo Sequenzas (Berio 1963, 1977; Halfyard 2007) informed much of the precompositional planning, especially with regards of the conflict between an abstract harmonic structure and the physical reality of the instrument. This resonated with the compositional approach of Richard Barrett (Fox 1995; Deforce and Barrett 2000) in which he treats the physicality of the instrument as the primary location of the work. The interface of two 'grids' (abstract and pitch based, and instrumental) also played an important part in considerations underpinning this project from compositional (for example, Ferneyhough 1995) and psychological (Pressing 1998) perspectives.
Initial work on the harp piece was informed by Read's classic text on extended techniques (1972) and on consultation of two key scores (Berio 1963; Bussotti 1963) and recordings (Ensemble InterContemporain 1998; Bussotti 2006). Having worked on an earlier unfinished work with the harpist Rhodri Davies (Hails 2012), I went back to my notes and sketches from that time.
Work on the trumpet(s) piece was made possible by consulting materials provided by the performer (Altoft and Bousted no date) and the recordings of the first stage of the 19ET project (Altoft and Bousted 2011).
The philosophical and aesthetic reflections that underpinned compositional work were dominated by the concepts of becoming and assemblage (Deleuze and Guattari 1987), and assemblages of enunciation (Guattari 2013).
- Author contribution statement
- -
- Non-English
- No
- English abstract
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