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Composing Time COMPOSING TIME ____________________________________________ Aspects of temporality and timelessness in six new compositions Alexander Turley A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Composition) Sydney Conservatorium of Music The University of Sydney 2020 I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; iii. contain any defamatory material; iv. contain any data that has not been collected in a manner consistent with ethics approval. ii Abstract Olivier Messiaen once said that “as composers, we have the great power to chop up and alter time”. Music, as a temporal art, unfolds by necessity over a period of time and requires its listener to engage with their memories of the past, awareness of the present and anticipation of the future. In spite of this, many pieces of music play on the illusion that time itself has stopped, slowed down, sped up, or otherwise been manipulated in some way. As a composer, I am deeply interested in this phenomenon and seek to investigate it through my work. I am particularly drawn to the experience of timelessness, a suspension of the feeling of time passing. This thesis includes a portfolio of six compositions which share a consistent conceptual approach to the composition of musical time, though the materials used to create them—as well as their performance contexts—vary greatly. This portfolio consists of two concert pieces, two electroacoustic pieces, a theatrical soundtrack and a video installation. The accompanying exegesis provides a philosophical background to my work, relating my approach to musical features such as harmony, form and rhythm to the listener’s experience of time. The first chapter of this document introduces a brief history of my compositional work as well as contextual information about the portfolio. The second explores historic and cultural views of the concepts of musical time, forward motion, directionality, stasis, the present moment, timelessness and eternity. I predominantly draw upon twentieth-century thought, relating my practice to conceptualisations and techniques from the work of composers including Debussy, Stravinsky, Stockhausen, Messiaen, Pärt and Reich. The remaining three chapters closely analyse the relevant technical features of the compositions and how they relate to the experience of timelessness. Drawing upon examples from each of the six works, these chapters explore the use of stasis, nonlinearity, temporal multiplicity, proportion and form. iii Acknowledgements I’m very grateful for the guidance of my supervisor Matthew Hindson, who has encouraged me throughout this project to tread my own path and do what I do best. I must also acknowledge Ross Edwards, for kindly meeting with me several times over the last few years and lending me his wisdom. Lachlan Skipworth, who I studied with prior to commencing this Masters, also deserves a mention as I frequently use the skills he taught me. I’m deeply indebted to Rachel Campbell, who endured many unpolished versions of this document and endless fretful Skype conversations over the last two years. Her guidance and insight to the ways of academically “classy” writing have been invaluable. It would not have been possible for me to fully realise the works discussed in this thesis without the generous faith and support of a number of artists. I’m particularly grateful to Fletcher Cox, the musicians of Golden Gate Brass, Evan Lawson, the musicians of Forest Collective, Jacobus Capone, Riley Spadaro and Nikki Edgar. It has been a privilege to work with artists of this calibre across such varied forms of music, and I look forward to our continued collaboration in the future. iv CONTENTS Abstract ............................................................................................................... iii Acknowledgements .............................................................................................. iv Index of Figures ................................................................................................... vi Index of Tables .................................................................................................... vi Index of Audio Examples .................................................................................... vii 1. Introduction ....................................................................................................... 1 1.1 Time in my work ............................................................................................ 2 1.2 The composition portfolio .............................................................................. 4 2. Conceptualizations of musical temporality ......................................................... 9 2.1 Music and time .............................................................................................. 9 2.2 Forward motion and Western teleology ........................................................ 13 2.3 Stasis and the specious present ...................................................................... 15 2.4 Timelessness ................................................................................................. 20 3. Stasis and nonlinearity ..................................................................................... 23 3.1 Continuity and renewal ................................................................................ 25 3.2 Bounded worlds ........................................................................................... 29 3.3 Phrases and melody ...................................................................................... 31 3.4 Global directionality ..................................................................................... 35 4. Temporal multiplicity ...................................................................................... 38 4.1 Superimposed layers ..................................................................................... 39 4.2 Symmetry ..................................................................................................... 40 5. Proportion and form ........................................................................................ 45 5.1 Transitions ................................................................................................... 46 5.2 Formal structures .......................................................................................... 49 6. Conclusion ....................................................................................................... 56 Bibliography ........................................................................................................ 58 v Index of Figures Figure 1: Still from Echo & Abyss. ........................................................................... 8 Figure 2: Still from We Are Gods. ............................................................................ 8 Figure 3: Harmony in Echo & Abyss, Scene 3. ....................................................... 25 Figure 4: Choral parts extracted from Echo & Abyss, Scene 3. ................................ 26 Figure 5: Cloudscapes, figure A. .............................................................................. 27 Figure 6: Reduction of accompaninment parts in Cloudscapes, figure A. ................ 27 Figure 7: Biome, 8:00, a.fl., cl, b.rec., a.sax. parts (note the transposing parts). ....... 28 Figure 8: Biome, 8:00, reduction. ........................................................................... 29 Figure 9: Biome, 8:00, reduction. ........................................................................... 29 Figure 10: Echo & Abyss, Scene 5, 'shimmer' sound reduction. ............................. 31 Figure 11: Cloudscapes, figure A, horn melody. ...................................................... 32 Figure 12: Cloudscapes, melodic cells extracted from horn melody. ........................ 32 Figure 13: Echo & Abyss, Scene 8, whistling melody. ............................................. 33 Figure 14: Echo & Abyss, melodic cells from whistling melody. ............................. 33 Figure 15: Echo & Abyss, octatonic pentachords extracted from whistling melody. 34 Figure 16: Firefly, excerpt. ...................................................................................... 34 Figure 17: Octatonic scale extracted from Firefly. ................................................... 34 Figure 18: Kusama's Garden, 1:45 - 2:15. ............................................................... 40 Figure 19: Cloudscapes, trumpet melodies. ............................................................. 41 Figure 20: Biome, 6:00-7:00, a.fl, cl., rec., a.sax., vln, vc. ....................................... 43 Figure 21: Formal map of Cloudscapes. .................................................................. 49 Figure 22: Formal map of Firefly. ........................................................................... 49 Figure 23: Formal map of Echo & Abyss. ............................................................... 52 Figure 24: Formal map of We Are Gods. ................................................................ 53 Figure 25: Formal
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