| Summary: | This thesis includes a portfolio of written compositions and a written commentary. The compositions submitted present the development of a bespoke notation that reflects a specific set of aesthetic concerns. The written commentary is comprised of five chapters. The first four each deal with a specific aesthetic interest and present the majority of the composition portfolio as an ongoing research project. The final chapter is a commentary on the final work in the portfolio, the opera Palace of Junk, and reflects on this work as the culmination of the research undertaken. Throughout the commentary, aesthetic ideas are considered for both their sonic capabilities and the possibilities of imbuing a more physical style of playing. The subsequent notation developed, represents a method in which the resultant sound and physical action is implicit within the score.
|
|---|
