A multi-component output of four compositions that explore a variety of ways of implementing a new variant on closed chord array techniques, supported by contextual information
- Submitting institution
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The University of West London
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33009
- Type
- J - Composition
- Month
- -
- 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
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is a multi-component output of four compositions, supported by contextual information. All four compositions are supplied as scores and recordings. The contextual information is provided as a separate file on the enclosed USB and details the research process and research insights along with further information about the time and manner of the dissemination of these compositions.
The four compositions submitted for assessment are:
i) Prometheus Sonata for piano and violin (2018) CD on Albany Records. Published by Edition Matching Arts, March 2020.
ii) Into The Sun… sonata for violin (2018) CD on Albany Records. Published by Edition Matching Arts, June 2018
iii) Dearly Ransomed Soul: concert overture for symphony orchestra (2018). Published by Edition Matching Arts, March 2020
iv) Sonata for cello and piano (2015) Premiere performance by Lawrence Stomberg in 2016 in Györ (Hungary).
Primarily, the originality of these pieces lies in the ways in which Osbon has embedded his own hybrid version of closed chordal arrays into a range of formal and gestural contexts drawn from schematic versions of 20th century popular music and other common musical forms. These pieces are designed to create a ‘way in’ for audiences to engage with a harmonic language that has a reputation with non-specialist audiences as being ‘difficult’. The blending of elements that are conceptually familiar –such as the blues, cabaret, guitar-based rock etc – with harmony grown out of the traditions of tone rows and modal serialism provides the audience with the conceptual ‘hooks’ that allows them to move past their notions of unfamiliar and purely cerebral music.
- Author contribution statement
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- Non-English
- No
- English abstract
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