As we begin a new century we find ourselves at a crossroads. It is a time to reappraise earlier achievements whilst continuing the quest for new forms of expression. In an analysis of seven of my own compositions it can be seen that it is possible to venture down more than one path and to explore a range of methods whilst still working within the same aesthetic boundaries. In emphasising the overriding significance of the vertical plane I propose a system of broadly non-functional harmony which provides a framework for developing musical ideas. To create a sense of harmonic progression the composer must find new ways of enabling the listener and performer to understand the timedimension. Using techniques of transformation both within ordered systems of note cells and within a freer approach to harmonic structure it is possible to organise the overall structure of a work and to establish a consistent and personal harmonic idiom. The portfolio of compositions includes scores of the following works together with recordings: 1. A STREET UNDER SIEGE, for symphony orchestra 17' 2. MAGNIFICAT AND NUNC DIMITTIS, for a capella eight part choir 14' 3. STRING QUARTET NO 6 9' 4. CLOSED CIRCUIT, for clarinet, piano and live electronics 9' 5. TURNING TABLES, for viola and harp 9' 6. ARIA - COMMEMORATION, for bassoon and piano 8'.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:514359 |
| Date | January 2000 |
| Creators | Pike, Fraser Jeremy |
| Publisher | Goldsmiths College (University of London) |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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