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A Portfolio of Compositions Developing Notational and Compositional Techniques in Neo-Liturgical Music Including Handpan

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A Portfolio of Compositions Developing Notational and Compositional Techniques in Neo-Liturgical Music Including Handpan A PORTFOLIO OF COMPOSITIONS DEVELOPING NOTATIONAL AND COMPOSITIONAL TECHNIQUES IN NEO-LITURGICAL MUSIC INCLUDING HANDPAN Daniel John Mattix Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2020 School of Arts and Media University of Salford, Manchester ii © 2020 by Daniel John Mattix ALL RIGHTS RESERVED iii Table of Contents TABLE OF CONTENTS .................................................................................................................................... III LIST OF TABLES .............................................................................................................................................. VII ACKNOWLEDGEMENTS & DEDICATION .............................................................................................. VIII ABSTRACT .......................................................................................................................................................... IX PART I: COMPOSITION PORTFOLIO ............................................................................................................ 1 COMPOSITION PORTFOLIO .................................................................................................................................... 2 PART II: COMMENTARY ................................................................................................................................... 3 CHAPTER 1: INTRODUCTION ................................................................................................................................. 4 Notation ........................................................................................................................................................... 4 Meditative Music ............................................................................................................................................. 4 Research Questions ......................................................................................................................................... 5 Background ..................................................................................................................................................... 6 CHAPTER 2: RESEARCH CONTEXT ...................................................................................................................... 13 Vladiswar Nadishana .................................................................................................................................... 14 Kabeção ........................................................................................................................................................ 14 Yukiko Koshimoto ......................................................................................................................................... 15 Jacob Cole ..................................................................................................................................................... 16 Laurent Sureau .............................................................................................................................................. 17 Jeremy Nattagh ............................................................................................................................................. 18 Adrian Portia ................................................................................................................................................ 19 Manu Delago ................................................................................................................................................. 20 Dan MulQueen ............................................................................................................................................... 21 David Kuckhermann ...................................................................................................................................... 22 Mark d’Ambrosio .......................................................................................................................................... 25 Jenny Robinson ............................................................................................................................................. 26 Other Literature ............................................................................................................................................ 26 CHAPTER 3: METHODOLOGY .............................................................................................................................. 29 ‘Practice-as-Research’ ................................................................................................................................. 29 Components of My Methodology .................................................................................................................. 34 CHAPTER 4: GENERAL CONSIDERATIONS AND ANALYSIS OF MY MUSICAL STYLE ............................................ 43 Influences ...................................................................................................................................................... 43 Process .......................................................................................................................................................... 46 CHAPTER 5: ON NEO-LITURGICAL MUSIC .......................................................................................................... 49 Historical Foundation ................................................................................................................................... 49 Contemporary Expressions ........................................................................................................................... 50 Music for Meditative Purposes ..................................................................................................................... 51 Application .................................................................................................................................................... 61 Narrative vs. Meditative Music ..................................................................................................................... 64 CHAPTER 6: DEVELOPMENT OF NOTATION SYSTEM ........................................................................................... 69 Clef ................................................................................................................................................................ 70 Notation for Pitched Tones on the Ding Side ............................................................................................... 70 Notation for Non-Pitched Sounds on the Ding Side ..................................................................................... 76 Interstitial Rim Tones .................................................................................................................................... 80 Notation for the Gu Side ............................................................................................................................... 83 CHAPTER 7: COMMENTARY ON THE PORTFOLIO PIECES ..................................................................................... 94 Piece #1: Triptych Meditation (2017), for handpan solo ............................................................................. 94 Piece #2: Le Feu de la Pentecôte (2018), for unspecified ensemble ............................................................ 98 Piece #3: La Création du monde (2018), for handpan and organ .............................................................. 101 Piece #4: Lux aeterna (2019), for electronics ............................................................................................ 104 Piece #5: Meditari (2019), for electronics and unspecified ensemble ........................................................ 106 Piece #6: Magnificat (2019), for mixed quartet, piano, and handpan ....................................................... 109 Piece #7: Selah (2019-2020), for orchestra and handpan .......................................................................... 120 CHAPTER 8: CONCLUSION ................................................................................................................................. 135 Research Questions ..................................................................................................................................... 135 Potential for Further Research ................................................................................................................... 138 BIBLIOGRAPHY ............................................................................................................................................... 140 iv List of Figures Figure 1.1. Representative scales used in handpan playing Figure 2.1. The arrangement of handpans used by Laurent Sureau in his recording of the Prelude from Bach’s Cello Suite. (Source: Laurent Sureau, printed with permission.) Figure 2.2. Kuckhermann’s Numbering System overlaid on handpan (Kuckhermann, 2018). (Source: David Kuckhermann, printed with permission.) Figure 2.3. An application of Kuckhermann’s numbering notation system (Kuckhermann, 2019). (Source: David Kuckhermann, printed with permission.) Figure 2.4. A second application of Kuckhermann’s numbering notation system, using the minim and quavers above the numerals as points of reference (Kuckhermann, 2018). (Source: David
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