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.
- Full Text:
- Date Issued: 2006
- 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.
- Full Text:
- Date Issued: 2006
Composition portfolio
- Authors: Webb, Cassidy Frank
- Date: 2006
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2659 , http://hdl.handle.net/10962/d1003729
- Description: Introduction: This portfolio consists of musical ideas which I have had for some time now. I have attempted to capture these ideas throughout the portfolio, starting with the smaller works (Brumes et Pluies) and building up to the larger works (James Tiberius, The tide). Brumes et Pluies is minimalistic in style. The interlocking of the two pianos plays an important role in the texture of the piece. The rhythms are repetitive throughout, with only slight variations. Kalahari is more idiomatic, rhythmical and has a main theme which recurs throughout the piece. Melodic fragments are used, sometimes with slight variations. This piece was inspired by the Kalahari desert, with its abundance of life. I enjoy the string quartet because of the homogeneity of sound on the one hand, and the diversity possible by using different techniques and effects on the other. James Tiberius is a work for chamber orchestra. Motifs in the music resemble certain animals. The rhythm is unstable, as is the harmony. There are many melodic fragments throughout. The texture is thin in certain areas (at the beginning) and dense in others (the waltz). The harmony is sometimes unconventional. The Tide was written in response to a memory of a drowning incident I experienced when I was a child. This orchestral piece is strong in form. The opening, for example, is tense and slightly atonal in harmony. The pomposo section tends to utilise most of the orchestra, so the texture is a lot denser here and the harmony is more conventional. I try not to use traditional forms in my composition. Rather, I prefer to compose by re-using and re-introducing ideas as I proceed.
- Full Text:
- Date Issued: 2006
- Authors: Webb, Cassidy Frank
- Date: 2006
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2659 , http://hdl.handle.net/10962/d1003729
- Description: Introduction: This portfolio consists of musical ideas which I have had for some time now. I have attempted to capture these ideas throughout the portfolio, starting with the smaller works (Brumes et Pluies) and building up to the larger works (James Tiberius, The tide). Brumes et Pluies is minimalistic in style. The interlocking of the two pianos plays an important role in the texture of the piece. The rhythms are repetitive throughout, with only slight variations. Kalahari is more idiomatic, rhythmical and has a main theme which recurs throughout the piece. Melodic fragments are used, sometimes with slight variations. This piece was inspired by the Kalahari desert, with its abundance of life. I enjoy the string quartet because of the homogeneity of sound on the one hand, and the diversity possible by using different techniques and effects on the other. James Tiberius is a work for chamber orchestra. Motifs in the music resemble certain animals. The rhythm is unstable, as is the harmony. There are many melodic fragments throughout. The texture is thin in certain areas (at the beginning) and dense in others (the waltz). The harmony is sometimes unconventional. The Tide was written in response to a memory of a drowning incident I experienced when I was a child. This orchestral piece is strong in form. The opening, for example, is tense and slightly atonal in harmony. The pomposo section tends to utilise most of the orchestra, so the texture is a lot denser here and the harmony is more conventional. I try not to use traditional forms in my composition. Rather, I prefer to compose by re-using and re-introducing ideas as I proceed.
- Full Text:
- Date Issued: 2006
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