Intuition and Process : A critical and reflective commentary on a portfolio of compositions. / Cryne, Michael.

2016. 87 p.

Research output: ThesisDoctoral Thesis

Unpublished

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@phdthesis{4c21468334034468a5c090a4ed223edd,
title = "Intuition and Process: A critical and reflective commentary on a portfolio of compositions",
abstract = "This thesis consists of a portfolio of nine compositions accompanied by a written commentary, plus audio recordings of most of the works. The compositions span a wide variety of instrumentations from a work for large orchestra to solo instrumental and chamber works, some including electronics.In the accompanying commentary I examine the technical foundations of my compositional language, discussing my interest in counterpoint and my evolving approach to vertical harmony. I also discuss my use of melodic and rhythmic cells in helping me develop my material and to maintain a sense of aural coherence. I investigate how I use extra-musical content to help me determine various elements of my music, from form and large-scale structure, through to broader aesthetic impulses. I discuss the importance of titles in my work, and how I view the relationship between music and the world. I explain how the views of composers Kaija Saariaho and Jonathan Harvey have helped shape my approach to extra-musical stimuli.Finally, I discuss my own work in context, discussing the challenges of determining a personal style in the 21st century. I consider the tension between my intuitive method and my desire for a coherent musical experience from the listener{\textquoteright}s point of view. ",
keywords = "Composition, Contemporary classical music, composition",
author = "Michael Cryne",
year = "2016",
month = oct,
day = "3",
language = "English",
school = "Royal Holloway, University of London",

}

RIS

TY - THES

T1 - Intuition and Process

T2 - A critical and reflective commentary on a portfolio of compositions

AU - Cryne, Michael

PY - 2016/10/3

Y1 - 2016/10/3

N2 - This thesis consists of a portfolio of nine compositions accompanied by a written commentary, plus audio recordings of most of the works. The compositions span a wide variety of instrumentations from a work for large orchestra to solo instrumental and chamber works, some including electronics.In the accompanying commentary I examine the technical foundations of my compositional language, discussing my interest in counterpoint and my evolving approach to vertical harmony. I also discuss my use of melodic and rhythmic cells in helping me develop my material and to maintain a sense of aural coherence. I investigate how I use extra-musical content to help me determine various elements of my music, from form and large-scale structure, through to broader aesthetic impulses. I discuss the importance of titles in my work, and how I view the relationship between music and the world. I explain how the views of composers Kaija Saariaho and Jonathan Harvey have helped shape my approach to extra-musical stimuli.Finally, I discuss my own work in context, discussing the challenges of determining a personal style in the 21st century. I consider the tension between my intuitive method and my desire for a coherent musical experience from the listener’s point of view.

AB - This thesis consists of a portfolio of nine compositions accompanied by a written commentary, plus audio recordings of most of the works. The compositions span a wide variety of instrumentations from a work for large orchestra to solo instrumental and chamber works, some including electronics.In the accompanying commentary I examine the technical foundations of my compositional language, discussing my interest in counterpoint and my evolving approach to vertical harmony. I also discuss my use of melodic and rhythmic cells in helping me develop my material and to maintain a sense of aural coherence. I investigate how I use extra-musical content to help me determine various elements of my music, from form and large-scale structure, through to broader aesthetic impulses. I discuss the importance of titles in my work, and how I view the relationship between music and the world. I explain how the views of composers Kaija Saariaho and Jonathan Harvey have helped shape my approach to extra-musical stimuli.Finally, I discuss my own work in context, discussing the challenges of determining a personal style in the 21st century. I consider the tension between my intuitive method and my desire for a coherent musical experience from the listener’s point of view.

KW - Composition

KW - Contemporary classical music

KW - composition

M3 - Doctoral Thesis

ER -