Portfolio of original compositions
- Authors: Nabal, Ruhan
- Date: 2018
- Subjects: Composition (Music) Music -- South Africa Suites (Orchestra , Piano music Marimba music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23858 , vital:30630
- Description: This Orchestral Suite was inspired by the art illustrations from Brian Froud’s book ‘Good Faeries Bad Faeries’, where each piece in the suite represents a drawing from his book, portraying three good faeries and three bad and is in many ways a tone poem. Each pieces calls for different orchestration to create individual colour to make each piece unique. Permission was not consented to include the drawings. The line-up is as follows:I. Waters of Wisdom – Overture to the faerie realm (good)II. The Thoughts of the Melancholic Faerie – She contemplates ofpast and present (bad)III. A Banshee Passing – the idea of death as coming unknowingly and going quietly (bad)IV. Introduction to Faerie Lilu – clearing the mist V. The Faerie Lilu – the provocateur of restlessness – she inspires wild dreams, lost fantasies and gives artists their sparks of genius (bad) VI. A Cluster of Hedgerow Pixies – They are very mischievous – in a (good) way.VII. The Dance of the Oboe Faerie – a Finale (good). While he dances, he also sings of the faerie realm.A number of composers inspired me to pursue such a work, and firstly G. Holst has left his mark on me. The first and sixth movement was inspired by the ‘Planets’. The fifth movement is actually in homage to the French composer Frank Martin with the composition ‘Petite symphonie’ where he displays the piano and harpsichord – as I have done. The second and third movements are attempts to portray film music, such as composers H. Zimmerman and D.Elfman. The last movement has many neo-classical elements displayed and I. Stravinsky had a notable influence on this piece. All the composers mentioned here have contributed in more than one piece at some point in time.The theme of the work, the magical theme, always makes me reminisce my childhood where I would in amazement wonder about my grandmothers glorious garden in search of all that is magical, and composing this took me back to that time of innocent, child-like wonder.
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- Date Issued: 2018
Composition portfolio
- Authors: Wynne, Donovan
- Date: 2006
- Subjects: Music -- South Africa Composition (Music) String quartets -- Scores
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2658 , http://hdl.handle.net/10962/d1003121
- Description: Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
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- Date Issued: 2006