A conscious and meaningful exploration of texture and texture procedures has been avoided by the majority of contemporary Art music since at least the 1990s. It is not so much that composers have not resort to textural procedures rather most of them seem to stop thinking “texturally” and when they do they tend to fall back on traditional and thus exhausted techniques. Also the categorization of most recent textures, namely the ones after the 1950s, is something that written sources seem to have neglected and there is no real agreement on how they should be categorized. A need for investigation on these matters seems to be obvious. A new way of thinking about texture is required; one that could help us to comprehend more fully the phenomenon of texture. The compositions and written commentary that support my research will, I hope, produce a successful textural conception, and its effective realization in a new consonant aesthetics, that will contribute to new perspectives on texture and textural procedures. By seeking inspiration and ideas in the textural music of composers such as György Ligeti, Kristof Penderecki or Witold Lutosławski, I will not try to create new textures per se but instead I will construct my musical narrative having texture as the touchstone of my composition thought.What is important in my musical narrative is the creation of moments of relaxation and tension. These two qualities have in the past been engendered by harmonic devices of dissonance creation and resolution. My research aims to demonstrate that an analogous effect can be achieved by the manipulation of texture. But in order to better understand the textural phenomena a reflection on rhythm and time is necessary. Music being a temporal art form, and taking in account that in order to establish a textural condition, or transition between different textural moments, a certain amount of time is required, the way we experience the passage of time is thus a pertinent topic that needs to be tackled. This additional topic of research will be crucial for the understanding not only of texture but also of one of music’s most important parameter – time.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:576933 |
| Date | January 2012 |
| Creators | Soldado, Luís Pedro H. M. |
| Publisher | Royal College of Music |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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