Melbourne Conservatorium of Music - Theses

Permanent URI for this collection

http://hdl.handle.net/11343/320

Filters

2013 1
1
Reset filters

Settings
Statistics
Citations
End date: 2021 × Type: PhD thesis × Subject: composition × Subject: Australian ×

Search Results

Now showing 1 - 1 of 1
  • Item
    Thumbnail Image
    Folio of original compositions 2009 - 2012
    VIGGIANI, MARK ( 2013)
    This thesis consists of a folio of original music scores composed during the period 2009–2012 and a dissertation of exegesis. Volume 1 comprises the scores – nine works for forces ranging from voice and piano to full orchestra, and including two extended song cycles. Performances of most of these works can be heard on the accompanying CD.The dissertation in Volume 2 addresses aesthetic and technical intentions and contextualizes the work in terms of both current compositional trends and formative influences. An examination of the approach towards harmony reveals the use of a wide range of idioms from functional harmony to basic serialism. This leads naturally into a discussion of form, rhythm and text, which describes the use of formulae such as golden section proportion and tendencies towards three-part structure. The effect and use of text is also explored.The compositional techniques posited are then explained in relation to the two works inspired by and based on songs by Blind Willie Johnson. Differences in approach are highlighted in the comparative analysis which follows. Lastly, analysis of the cycle Visionary Songs offers insights into the workings of the compositional process itself. The dissertation in Volume 2 addresses aesthetic and technical intentions and contextualizes the work in terms of both current compositional trends and formative influences. An examination of the approach towards harmony reveals the use of a wide range of idioms from functional harmony to basic serialism. This leads naturally into a discussion of form, rhythm and text, which describes the use of formulae such as golden section proportion and tendencies towards three-part structure. The effect and use of text is also explored. The compositional techniques posited are then explained in relation to the two works inspired by and based on songs by Blind Willie Johnson. Differences in approach are highlighted in the comparative analysis which follows. Lastly, analysis of the cycle Visionary Songs offers insights into the workings of the compositional process itself.