The attached portfolio is a selection of works that I have composed since October 1990. The selection includes most of the concert music written in this period but excludes the incidental music that I wrote for three productions of Astra Theatre (Woyzeck, Macbeth arid Th~e White Scourge), and incidental music to The Beggar's Opera (written for the St Magnus Festival, Orkney). Two chamber works, with which I was never satisfied, are also omitted: Catch for Three for three oboes, composed for a project for children with special needs and Chimaeric Visions for free bass accordion and percussion. The group of works submitted display several common characteristics; a fascination with instrumental colour and the variety of blends and hues available within an ensemble, a concern for shaping gesture at a motivic and a dramatic level, an interest in metaphor and metonymy in language and music and the possibility of drawing a connection between both art forms, the role of composition processes and structures in determining the perception and comprehension of a work and finally the engagement of the performer in the realisation of the-'virtual' music of the score. This commentary is intended to explore these issues in relation to my work but cannot, for reasons of scope and space, be an authoritative dissertation on each subject. I am aware of the dangers of appropriating terms and concepts from disciplines outside music and have attempted to outline the points of contact in my introductory chapter.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:600918 |
| Date | January 1998 |
| Creators | Archbold, Paul |
| Publisher | Durham University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.dur.ac.uk/10188/ |
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