Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.770002
Title: Incantations : Concerto da Camera for Piano and Ensemble (2015) : the balance of traditional and progressive musical parameters through the concertante treatment of the piano
Author: Waterhouse, Graham
ISNI:       0000 0004 7660 5719
Awarding Body: Birmingham City University
Current Institution: Birmingham City University
Date of Award: 2018
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Abstract:
The aim of this research project is to investigate concertante techniques in composition with reference both to traditional models and recent works in the genre, and to redefine a contemporary understanding of concertante writing in preparation for the principal work of this thesis, Incantations for Piano and Ensemble. Starting with the contradictory meanings of the word "concertare" (to compete and to unite), as well as with a fleeting, non-musical vision of combining disparate elements, I investigate diverse styles and means of combining soloist (mainly piano) and ensemble. My aim is to expand my compositional "vocabulary", in order to meet the demands of writing a work for piano and ensemble. This involved composing supporting works, both of concerto-like nature (with more clearly defined functions of soloist and tutti), as well as chamber music (with material equally divided between the players). Part of the research was to ascertain to what extent these two apparent opposites could be combined to create a hybrid concerto/chamber music genre in which the element of virtuosity transcends the purely bravura, to embrace a common adaptability, where soloist and ensemble players are called upon to assume a variety of roles, from the accompanimental to the soloistic. Special attention is paid to the use of the parameters harmony/form, concertante piano writing and extended techniques in my supporting works and how these are developed and applied to the principal work. The use of extended techniques, originally intended for wide-scale deployment in the principal work, is essayed especially in two works for cello and speaking voice. For one of the latter a new method of notating certain techniques had to be devised. The validity and effectiveness of the extended techniques is assessed in a number of different contexts and conclusions are drawn regarding their deployment in the principal work.
Supervisor: Cutler, Joe ; Dingle, Christopher ; Roxburgh, Edwin Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.770002  DOI: Not available
Keywords: W300 Music
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