Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588712
Title: Portfolio of compositions
Author: Kilpatrick, S. D.
Awarding Body: University of Salford
Current Institution: University of Salford
Date of Award: 2013
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Abstract:
This Ph.D. portfolio of compositions demonstrates the development of a musical language and practice that draws on a number of strands that have been prominent in my study of – and practice in – electroacoustic composition. These strands are Denis Smalley’s concept of spectro-morphology and Trevor Wishart’s concept of “evolving timbre-streams” (1996, p. 27); Wishart’s writings on breaking away from the tradition of “lattice-based” compositional practices (1996, p. 23); R. Murray Schafer’s writings on the soundscape; field recording, and Bakhtin’s writings on narrative and form. The motivation behind the development of this portfolio is to draw together the sometimes disparate practices inherent in instrumental and acousmatic composition in a new musical language - different to that of the Spectralist composers - that incorporates the rhythmical and timbral flexibilities of electronic music with the communal, interactive practice of acoustic composition. In turn, concepts of form drawn from both instrumental and electroacoustic composition and the properties of acoustic performance are explored within an electronic medium. These concepts are explored initially through electroacoustic composition and indeterminate notation that then leads to the development of a notational practice that, although bound to the lattice, creates the impression of multiple lines travelling at different tempi. The concept of “evolving timbre-streams” is developed in the acoustic works partly through the use of multiple temporal streams, but also by exploiting multiphonics, microtonal inflections and extended techniques. Later pieces in the portfolio fuse the acoustic with the electroacoustic by incorporating fixed- medium or live electronics into instrumental compositions. The final two pieces in the portfolio reconcile acoustic and electroacoustic – or practices developed from the study of electroacoustic music – within the genres of opera and music theatre in a way compatible with the practice and performance of these art forms.
Supervisor: Not available Sponsor: Leeds Metropolitan University
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.588712  DOI: Not available
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