Data supporting the thesis, “Portfolio of compositions and commentary"

This dataset is comprised of audio recordings of compositions related to the thesis “Portfolio of compositions and commentary".

The eight works in this portfolio of compositions are concerned with the expressive use of techniques that aim to conjure up notions of linear continuity and discontinuity. Several works explore background directed motion through the use of cantus firmus and step-wise motions, and others explore discontinuity through fragmentation and interlocking patterns, as a means of engendering musical shape.

My ideas on continuity draw from contemporary conceptions of prolongation in post-tonal music, as expounded by Salzer and Schachter, Wilson, Travis and Kramer, among others, as well as the use of stepwise connection, as illustrated by Schoenberg in the Harmonielehre. The music of Ligeti and Xenakis provided models for linking sonic features with visual shape representations, and several works engage with Stockhausen’s and Kurtág’s practice of using moments and fragments that circumvent tradition linear relationships.

The first movement of the violin duo, Even if it is Only a Whisper explores continuity through the use of two-part contrapuntal backgrounds; the second focusses on interlocking patterns; and the third is a transitional piece, in which ideas on shape versus line were formulated and tested.

While the potential of stratified layers, as a means of articulating two-part contrapuntal backgrounds, is deployed in the first and fifth movements of A Walk to the Sun (for mixed quintet), its second, third and fourth movements are fragmented pieces, investigating the tension between composed continuities and fragment forms. Similar preoccupations are found in Three American Songs, for soprano and piano.

Where They Flocked, for mixed quintet, further explores the use of two-part background progressions, as well as pitch-centricity.

The second movement of the string quartet, Meandros, features the most explicit manifestation of Fuxian counterpoint backgrounds. Its other movements deploy interlocking patterns in order to generate musical shapes.

The Strange World of Stillness, for solo viola, consists of two movements in which notes acting as tonal centres support non-linear surfaces. Some of the major concerns of my final work for chamber orchestra, particularly with regards to the use of ‘pivot points’, can be found in Swarming, for flute and guitar.

Finally, Fluidity (for chamber orchestra) represents a consolidation of many of the techniques explored in this thesis, namely the use of cantus firmus, stepwise motion and interlocking patterns.

Audio recordings:

Even if it is Only a Whisper

Recorded by Madeleine Mitchell and Gordon MacKay.

· Movement I

· Movement II

· Movement III

A Walk to the Sun

Recorded by members of Orchestra Vitae. Conducted by Pablo Urbina.

· Movement I

· Movement II

· Movement III

· Movement IV

· Movement V

Three American Songs

Recorded by Susan Parkes and Mary Dullea.

· Bring Me Little Water

· Sylvie Song of Myself

· Amaze

Where They Flocked

Recorded by Andrew Sparling, Alexandros Koustas, Edward Brenton, Joe Zeitlin and Kiyomi Seed. Conducted by Jonathan Tilbrook.

Meandros

I, II and V are recorded by Madeleine Mitchell, Gordon MacKay, Bridget Carey and Joseph Spooner. IV is recorded by Iain Gibbs, Miriam Bergset, Mark Gibbs and Hannah Lewis.

* NB: There is no recording of movement III.

· Movement I

· Movement II

· Movement IV

· Movement V

The Strange World of Stillness

Recorded by Mark Gibbs.

· Movement I

· Movement II

Swarming

Recorded by Meera Maharaj and James Girling.

Fluidity

Recorded by Orchestra Vitae. Conducted by Pablo Urbina.