Abstract
How do we understand the ontology of a work from its initial inception in the mind of a composer, to the final realisation in performance? This creative discourse is often more complex than at first appears. What is the nature of the unformed material; is this a specific apprehension of sound, an image or an extra musical reference? To what degree is this material then mediated by its own possibility in notation or even determined by various structural processes? Further, what are the relationships obtaining between notation and interpretation seen as potential form building elements; are there structures inherent in notation, which elicit material beyond a simple representation and if so, how might a composer exploit this as part of the work structure? This paper will examine the nature of the creative discourse in relation to my own compositional practice, which focuses on the symbiotic relationship between complex pre-compositional processes, notational potential and a more intuitive scanning of the material.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
