Vol. 1, Thesis--Copenhagen. / "Kilde-og litteraturfortegneise": v. 1, p. 431-435.

Vol. 1, thesis--Copenhagen. / "Kilde- og litteraturfortegneise": v. 1, p. 431-435.

The purpose of this study was to document the compositional process of the American composer, Rene Clausen (b. 1953). The writer conducted three days of interviews with Dr. Clausen to discuss his compositional process in selected choral works. The discussion included Clausen's "creative impetus," and "compositional approach" to the elements of text, harmony, rhythm, melody and texture.The writer examined Clausen's thirty-three published choral works. Three works representative of his choral output were selected: "All That Hath Life and Breath Praise Ye the Lord" (1981); "0 Vos Omnes" (1986); and "Whispers of Heavenly Death" (1993). These works were selected upon the composer's recommendation as pieces which are representative of his choral style.Clausen's "creative impetus," his musical influences and motivation, form what he terms "deep background." This material, some learned, but most absorbed through various musical experiences and influences, is placed into a "big bin" from which Clausen draws when making compositional decisions.The text is the genesis of Clausen's process. When selecting texts, Clausen looks for ones that will evoke certain colors, nuances, or images.Clausen's second step is to absorb the meaning of that text. During this important absorption process Clausen develops an idea of what the character of the piece will be.The third step is the emergent process: generating thoughts about thematic material, intermittent ideas, textures, and transitional material which will be presented. Clausen manipulates the elements of harmony, rhythm, melody and texture to express the forms and images present in the text.An examination of Clausen's compositional approach to the following elements was conducted: HarmonyClausen's approach is extended diatonicism with traditional harmonic movement leading toward goal oriented harmony.RhythmClausen uses a variety of rhythmic approaches to express the text: mixed and asymmetrical meter, free unmeasured rhythm, and dove-tailing sections rhythm and metered music. MelodyClausen's approach is based upon the parameters within which he is writing and on the imagery present in the text. TextureClausen's approach is based on two aspects: the level of difficulty or level for which the piece is written and the images expressed in the text. / School of Music

In the late nineteenth century, the use of pastels underwent a revival and many young British artists adopted the medium as a new means of expression. This surge in popularity was marked by three exhibitions dedicated to contemporary works in pastel held at the Grosvenor Gallery in London between 1888 and 1890. These shows attracted over three hundred participants and culminated in the formation of the Society of British Pastellists in 1890, which counted amongst its eminent members William Stott of Oldham (1857-1900), James Guthrie (1859-1930), George Clausen (1852-1944) and Elizabeth Armstrong (1859-1912). Despite its auspicious beginnings this movement was short-lived and the society disbanded the following year. This has caused scholars to treat the use of pastel by British artists as just a passing fad in the oeuvres of individual artists and in studies of contemporary stylistic trends. Yet, the varying involvement of these four artists with the most pioneering art movements in Britain would suggest that this medium formed an intrinsic part of their move towards a modern aesthetic. Thus, the diverse approaches of these artists will form a prism through which to examine the importance of materiality for the development of new subject matter and stylistic innovations. This study will involve not only a consideration of the formal properties of these works but also the culture in which they were produced, exhibited and critically received. Indeed, it is hoped that by situating these pastels within a wider cultural context that a further understanding of their long-term significance in the canon of modern art in Britain can be achieved. In this way, I believe that this study will contribute towards a new position for pastel as a modern medium that was essential for the invention of new artistic practices at this time.