Judith Weir's Instrumental Music as Description

Kheng K Koay

doi:10.1590/permusi20163303

Abstract

Abstract This study explores Judith Weir's abstract descriptive technique in her instrumental music, Distance and Enchantment (1988) for piano quartet and Musicians Wrestle Everywhere for ten instruments (1994). Folksongs and a location used and described in the music, respectively, are interpreted and "produced" through musical characters and mood. In most cases musical characters and gestures have a tendency to associate musical motion to arouse images. The decisions, ideas and styles in these compositions may be applied to works in other genres and her later works, as well.

Highlights

Folk songs, folklore, things, events and landscapes have been major inspirational sources for composers over many centuries, and often have been incorporated into or represented in their music
It is undeniable that Judith Weir possesses a creative musical imagination in setting up and capturing such moods of stories, poems, folksongs, folklore and environments that have inspired her
In keeping with the Irish and Scottish musical traditions in the first half of her piece, an up‐beat is well suited to begin the opening of the composition and a change of musical characters; an example can be seen at measure 54

Summary

Introduction

Folklore, things, events and landscapes have been major inspirational sources for composers over many centuries, and often have been incorporated into or represented in their music. Aspects of musical organization such as tempo, rhythmic characters, dynamics and texture, and the selection of instruments have played a major role in the compositions to evoke images and set the mood.

Results

Conclusion