Abstract
ABSTRACTThe Lithuanian composer Egidija Medekšaitė (b. 1979) has developed a practice in which she uses the principles of textile weaving to make musical compositions. This article introduces a series of works created in the last three years in which she has refined these techniques; it also considers the nature of the relationship between the textile patterns that Medekšaitė uses as the basis for these works and the resultant music. In particular the article focuses on an analytical account of four works: Âkâsha for string orchestra (2015), the string quartet Megh Malhar (2016), a setting of the Nunc dimittis (2018), and Sattva for electronics and accordion (2018).
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