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dc.contributor.advisorLodge, Martin
dc.contributor.advisorWilliams, Michael
dc.contributor.authorMayall, Jeremy Mark
dc.date.accessioned2015-06-01T23:50:51Z
dc.date.available2015-06-01T23:50:51Z
dc.date.issued2015
dc.identifier.citationMayall, J. M. (2015). Portfolio of Compositions: Systematic composition of cross-genre hybrid music (Thesis, Doctor of Philosophy (PhD)). University of Waikato, Hamilton, New Zealand. Retrieved from https://hdl.handle.net/10289/9348en
dc.identifier.urihttps://hdl.handle.net/10289/9348
dc.description.abstractThe research focus of this PhD thesis is the development of a new technique for composing original musical compositions in which elements from different musical genres are hybridised. The innovative aspect of achieving balanced hybridity is the development of a systematic approach to selecting and synthesising or hybridising key musical elements across a range of different genres. The major component of this submission is a portfolio of nine original works with attached CD/DVD recordings. 1. Tracking Forward for viola, backing track and video 2. The Long White Cloud for chamber band and electronics 3. ‘Colorless green ideas sleep furiously’ for orchestra 4. Push for Miles for electric bass and backing track 5. Norse Suite for viola and cello 6. The Foggy Field a studio construction 7. Into the Nocturnal Sunshine for flute, viola, cello, drums and electronics 8. One Night, New Breath for taonga puoro, viola, drums and electronics 9. Sketches of an Intergalactic Earworm for piano trio and boombox The accompanying documentation clarifies, and contextualises the creation and presentation of these works; and illuminates the aesthetic underpinnings and compositional techniques developed and utilised as a part of this hybrid-genre compositional approach. The structure of the supporting exegesis is in two parts: the methodology of practice-based research, and reflective investigation. Part One (Chapters 1 and 2) is an introductory overview; an observation of the existing literature and related work, relevant creative practice in the composer’s previous work; and the compositional methodology – including an explanation of the genre matrix. Part Two (Chapters 3 to 12) analyses the use of genre, the balance of hybridity, and relevant compositional techniques utilised in the development of each individual piece.
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dc.language.isoen
dc.publisherUniversity of Waikato
dc.rightsAll items in Research Commons are provided for private study and research purposes and are protected by copyright with all rights reserved unless otherwise indicated.
dc.subjectcross-genre hybrid music
dc.subjectinnovative
dc.subjectcompositional techniques
dc.subjectsystematic composition
dc.subjecthybridity table
dc.subjectcross-over
dc.subjectgenre-informed performance
dc.subjectmusic technology
dc.subjectrecording studio
dc.subjectimprovisation
dc.subjectmultimedia
dc.subjectgenre and style
dc.subjectchamber music
dc.subjecttaonga puoro
dc.subjectpopular music
dc.subjectart music
dc.titlePortfolio of Compositions: Systematic composition of cross-genre hybrid music
dc.typeThesis
thesis.degree.grantorUniversity of Waikato
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Philosophy (PhD)
dc.date.updated2015-05-19T03:23:41Z
pubs.place-of-publicationHamilton, New Zealanden_NZ


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