Folio of compositions and critical commentary

Kardos, Leah (2014). Folio of compositions and critical commentary PhD Thesis, School of Music, The University of Queensland. doi:10.14264/uql.2015.98

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Feather_Hammer_01_The_Waiting.mp3 Stream this item to your browser Feather_Hammer_01_The_Waiting.mp3 audio/mpeg 16.02MB 0
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Author Kardos, Leah
Thesis Title Folio of compositions and critical commentary
School, Centre or Institute School of Music
Institution The University of Queensland
DOI 10.14264/uql.2015.98
Publication date 2014-11-30
Thesis type PhD Thesis
Open Access Status Other
Supervisor Robert Davidson
Total pages 124
Language eng
Subjects 190406 Music Composition
Formatted abstract
This folio of compositions and accompanying exegesis presents a collection of my original music that demonstrates an individual approach to composition which often seeks to exploit the various unique creative opportunities made possible through the use of music technology applications.

Within the folio there is experimentation, collaboration, muscle memory improvisation, sampling, triggering and the “mashing up” of styles and contexts. Various forms and formats range from piano solos to concept albums, song cycles to orchestral scores, electro cover versions and live laptop electronics. The folio demonstrates a fascination with the transient, spatial quality of performed music versus the unchanging, deliberate nature of recorded musical productions, and the subjective listening experience of both.

Particular approaches to composition explored in this exegesis include: the life of the score and recycling score-based music materials through human filters; attempting to communicate ideas using “sonic vernacular,” referring to the subtle sound language built from musical cliche╠üs, samples of other recordings, perceived sound quality and colour; exploring personal narratives through experimentations with muscle memory improvisation.

This folio presents five works to illustrate these creative processes that are aided, facilitated or actualised by technology. It includes two “concept albums,” Feather Hammer, a collection of productions for multi-tracked prepared piano, and Machines, a song cycle; Three Preludes, a work for solo piano that is designed to be remixed and sampled; a work for chamber orchestra, Kick, and You Can’t Hide Beat, a collection of David Bowie cover versions created using samples from his own famous recordings.
Keyword New music
Composition
Music technology
Music production
Recording
Creative practice

Document type: Thesis
Collections: UQ Theses (RHD) - Official
UQ Theses (RHD) - Open Access
 
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Created: Tue, 25 Nov 2014, 05:34:42 EST by Miss Leah Kardos on behalf of Scholarly Communication and Digitisation Service