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Title: Portfolio of compositions and technical commentary
Author: Stuardo Concha, Marcos Dario
ISNI:       0000 0004 7660 2980
Awarding Body: King's College London
Current Institution: King's College London (University of London)
Date of Award: 2019
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The works in this portfolio of compositions explore various ways in which rule-bound compositional approaches may be inflected by intuitive decisions in order to broaden expressive possibilities. While having distinctive instrumentations and differing durations, all the works share a concern with the use of a restricted variety of types of material as well as the reliance on a small number of collection of pitches as sources of harmony and line. My interest in these types of rule-bound compositional strategies arose from a commitment to musical organicism. Yet my music fulfils organic criteria only partially, for it deliberately eschews traditional harmonic developmental processes, thus giving rise to friction between the rigidity evident in the motivic treatment and modes of progression that are commonly associated with developmental motivic transformations. Generally, a motif or gesture presented at the beginning of a composition becomes all-pervasive, giving rise to structures in which all parts are inter-related. Another rule-bound aspect is that some groups of works share their material, as in Dana (for mixed quintet), Contorno Circular (for chamber orchestra), Two Pieces for Piano and Ciclo Altazor, a set of three settings of excerpts from poems by Vicente Huidobro. In Constantis and Reqle for mixed ensembles, I explore the use of non-triadic collections of pitches for prolonged sections and create tonal hierarchies by projecting particular pitch-levels and/or by means of their ubiquitous repetition, as well as by assigning them prominent positions within phrases. Another aspect of my concern with setting boundaries to a composition is that Tándems, Incorrigible Negligence, Oboes (three duos for different combinations of instruments) and Mecánico, Lírico y Preciso (for piano) are permeated by motivic repetitions, so as to create nets of interconnections. Concertante (for piano and chamber orchestra) is based on the idea of re-using and re-signifying elements taken from Peccadillo, an earlier short piece for piano.
Supervisor: Milstein, Silvina Raquel ; Keeley, Robert Ian Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available