The rationale for this portfolio of original compositions was to investigate particular ideas in relation to the use of dissonance, and in particular harmony, to represent the concept of darkness in an emotional and visual sense. The notion that harmony and dissonance can evoke emotions was developed through research into literature of music and the mind. Theories of harmonic dissonance, acoustic, physiological and psychological were studied including those of Helmholtz, Greenwood, Plomp and Levelt, Stumpf and Cooke. The compositions are divided into two parts, two orchestral works that are an evocation of underground locations, and the second part which is devoted to three small chamber works that investigate the darker emotions of child psychology, looking at phobias, dreams and psychological perceptions: 1. Mary King’s Close - flute, clarinet, bassoon, horn, trumpet, trombone, piano, 2 percussion, 2 violins, viola, cello, double bass. 2. Limbus Infantium - flute, soprano voice, piano, harp. 3. Nocturne - 2 trumpets, horn, trombone, euphonium, tuba, 2 percussion, recorded text. 4. Symphony 2 ‘The Caves’ - symphony orchestra 5. Voices - 2 violins, viola, cello The portfolio of compositions begins with the use of dyadic harmonic intervals derived from modal themes, and the subsequent compositions expand and develop these ideas culminating in a complex use of small harmonic cells which relate to subtle light illuminations in the underground caves, and the psychological depth of perception of children in the final works. / Thesis(PhD)-- Elder Conservatorium of Music, 2007
| Identifer | oai:union.ndltd.org:ADTP/263587 |
| Date | January 2007 |
| Creators | Duncan, Wayne |
| Source Sets | Australiasian Digital Theses Program |
| Language | en_US |
| Detected Language | English |
Page generated in 0.0724 seconds