Abstract
This submission comprises a portfolio of compositions with accompanying recordings,
along with a subsidiary thesis that describes the compositions, reflects on the
recordings and how my compositions have evolved, and describes subsidiary work
titled ‘Composers Sketchbook’1 that uses a non-linear map (the Logistic, or Verhulst
Map) to generate musical material; the process is mediated by a computer program
written to reduce the burdensome task of generation and symbol translation.
The research questions for the portfolio are:
• Where sketches are used, do they impact the style and structure of the
composition?
• Does the portfolio show that the influence of the sketches can be seen, even
in compositions that use other approaches3and do they contribute to changes
from my earlier compositions?
These generate subsidiary questions for the Sketchbook: is there a way to map
generated numbers into score form with the minimum need for the user to engage
with the underlying mechanisms; can those mechanisms allow minimum or no
constraint on the mapping; and are the resulting sketches interesting and influential
in my composition portfolio.
The main body of my submission consists of a portfolio of compositions, comprising
three large-scale works and two chamber works:
Large-scale works
• The Moors Sigh, for medium-size orchestra, is based on an incident in 1492
during the Reconquista in Spain; it is a reflection on the consequences of
being convinced of one’s rightness. Much of the composition uses sketch
material generated from the Sketchbook.
• The Second Coming (A musical commentary on the poem by W.B.Yeats) is
set for electronic sound, pre-recorded speaker and acoustic instruments –
trumpet, cymbal, xylophone, marimba, two pianos, four ‘cellos and two
double-basses. It uses the poem to shape the structure and each section
comments on aspects of the verse. A small amount of the material is
generated using random numbers, or by combining overtones in nonharmonic
combinations.
• Changing Times, for chamber orchestra, takes as its foundation quotations
from Ecclesiastes and Khalil Gibran’s The Prophet that illustrate uses of time
and also the illusory nature of memory and anticipation.
Chamber Works
• Woodwind Serenade, for flute, oboe, clarinet, bassoon and two saxophones,
is a five-movement composition; each movement is based on a sketch
generated from the Sketchbook.
• Second String Quartet is an exploration of serial techniques using a pitch-set
that has tonal implications, with some adoption of the Fibonnaci series to
generate rhythms.
One subsidiary composition is included, an early sketch for The Moor’s Sigh that is
based on material generated from the Sketchbook.
Finally, to aid understanding of the development of the Sketchbook, the submission
includes the diary I kept when developing the process and the supporting program.
Note: All literature references are listed in Appendix A – the majority are related to
the Sketchbook development work.