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A portfolio of acoustic/electroacoustic music compositions & computer algorithms that investigate the development of polymodality, polyharmony, chromaticism & extended timbre in my musical language

Hughes, Gareth Olubunmi 2016. A portfolio of acoustic/electroacoustic music compositions & computer algorithms that investigate the development of polymodality, polyharmony, chromaticism & extended timbre in my musical language. PhD Thesis, Cardiff University.
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[thumbnail of Volume 1: Portfolio of Compositions]
PDF (Volume 1: Portfolio of Compositions) - Accepted Post-Print Version
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[thumbnail of Volume 2: Academic Commentary]
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[thumbnail of Electronic Theses and Dissertations Publication Form_Completed_00.pdf] PDF - Supplemental Material
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The emphasis of this PhD is in the field of original/contemporary musical composition and I have submitted a portfolio of original compositions (volume 1/2, comprising of music scores of both acoustic and electroacoustic music compositions [totalling c. 114:30 minutes of music] as well as written material relating to notation and artistic motivation), along with an academic commentary (volume 2/2 [totalling c. 19,500 words], which places the original compositional work in the portfolio in its academic context). The composition works in first volume are varied and broad ranging in scope. In terms of pitch organisation, the majority of works adopt some form of modality or polymodality, whilst certain works also incorporate post-tonal chromaticism and serialism into their syntax. Certain key works also explore extended timbre and colouration (in particular for bowed strings, voices, flute and electronics) and adopt the use of timbral modifications, harmonics, microtones, multiphonics, sprechgesang (i.e. ‘speech-song’), phonetics and the incorporation of electroacoustic sampling, sound synthesis and processing. The academic commentary in the second volume sets out several initial theoretical pitch organisation models (namely relating to modes, polymodes, rows, serial techniques and intervallic cells), with a particular emphasis placed on the formation of a melodic/harmonic language which is fundamentally polymodal, polychordal and polyharmonic. The commentary then takes a closer look at various works within the portfolio which adopt modal, polymodal and chromatic forms of pitch-organisation (whilst intermittently discussing wider musical parameters, such as rhythm, counterpoint, timbre, structure etc...). Separate chapters also discuss a work for flute and electronics and a lengthy work for string quartet (inspired by urban dystopian film) in greater depth. The commentary also discusses my style of writing, placing individual works within the portfolio in their academic context alongside key influences as well as contextualising non-musical aesthetics and sources of artistic inspiration relating to my work.

Item Type: Thesis (PhD)
Status: Unpublished
Schools: Music
Subjects: M Music and Books on Music > M Music
P Language and Literature > PB Modern European Languages > PB1001 Celtic languages and literature
Q Science > QA Mathematics > QA76 Computer software
Uncontrolled Keywords: polymode; polymodes; polymodal; polymodality; polyharmony; polyharmonic; polychord; polychordal; Olivier Messiaen; Béla Bartók; Bartok; hexachordal rotation; heptachordal; pentachordal; intervallic cells; Oliver Knussen; John Morris-Jones; T. Gwynn Jones; Celtic mythology; Arthurian mythology; Mabinogi; Mabinogion; Blodeuwedd; Eisteddfod; Guto Pryderi Puw; George Crumb; Kaija Saariaho; Toru Takemitsu; urban dystopia; Metropolis; Matrix; phonetics; Sprechgesang; Sprechstimme; György Ligeti; Luciano Berio; Karlheinz Stockhausen; Kingma; harmonics; quartertones; microtones; multiphonics; Carla Rees; Michael Oliva; SuperCollider; Z_Library; QtCollider; Qt ; C++ ; Linux Fedora
Date of First Compliant Deposit: 30 March 2016
Last Modified: 08 Jul 2021 11:29

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