This dissertation examines not only how sound-colour manifests itself within the author's musical language, but also questions whether practise at such a synesthetic method has generated greater dexterity in its execution. Drawing on research from the philosophy of art and taking a personal approach, three areas of investigation are taken 1) a critical analysis of Oliver Messiaen's Couleurs de la cite celeste, where he claims that the piece evolves in the manner of colours; 2) an exploration into the author's own compositional process through an analytical study of Seven Miniatures After Chagal/; and 3) discussion regarding to what extent this period of research has affected the development of the author's musical language and presentation of the author's own theory on sound-colour. Conclusions are drawn on how the author has successfully refined her synesthetic approach to music through a process of exploration, exposure and practise, and that there are some universal truths regarding colour and composition that cannot be ignored.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:650289 |
| Date | January 2013 |
| Creators | Pritchard, Deborah |
| Publisher | University of Oxford |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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