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Title: A portfolio of acoustic/electroacoustic music compositions & computer algorithms that investigate the development of polymodality, polyharmony, chromaticism & extended timbre in my musical language
Author: Hughes, Gareth Olubunmi
Awarding Body: Cardiff University
Current Institution: Cardiff University
Date of Award: 2016
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The emphasis of this PhD is in the field of original/contemporary musical composition and I have submitted a portfolio of original compositions (volume 1/2, comprising of music scores of both acoustic and electroacoustic music compositions [totalling c. 114:30 minutes of music] as well as written material relating to notation and artistic motivation), along with an academic commentary (volume 2/2 [totalling c. 19,500 words], which places the original compositional work in the portfolio in its academic context). The composition works in first volume are varied and broad ranging in scope. In terms of pitch organisation, the majority of works adopt some form of modality or polymodality, whilst certain works also incorporate post-tonal chromaticism and serialism into their syntax. Certain key works also explore extended timbre and colouration (in particular for bowed strings, voices, flute and electronics) and adopt the use of timbral modifications, harmonics, microtones, multiphonics, sprechgesang (i.e. ‘speech-song’), phonetics and the incorporation of electroacoustic sampling, sound synthesis and processing. The academic commentary in the second volume sets out several initial theoretical pitch organisation models (namely relating to modes, polymodes, rows, serial techniques and intervallic cells), with a particular emphasis placed on the formation of a melodic/harmonic language which is fundamentally polymodal, polychordal and polyharmonic. The commentary then takes a closer look at various works within the portfolio which adopt modal, polymodal and chromatic forms of pitch-organisation (whilst intermittently discussing wider musical parameters, such as rhythm, counterpoint, timbre, structure etc.). Separate chapters also discuss a work for flute and electronics and a lengthy work for string quartet (inspired by urban dystopian film) in greater depth. The commentary also discusses my style of writing, placing individual works within the portfolio in their academic context alongside key influences as well as contextualising non-musical aesthetics and sources of artistic inspiration relating to my work.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available
Keywords: M Music ; PB1001 Celtic languages and literature ; QA76 Computer software