University of Huddersfield Repository Miller, Cassandra Transformative Mimicry: Composition as Embodied Practice in Recent Works Original Citation Miller, Cassandra (2018) Transformative Mimicry: Composition as Embodied Practice in Recent Works. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34998/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. 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For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Transformative Mimicry — !1 Transformative Mimicry: Composition as Embodied Practice in Recent Works Cassandra Linnet Miller September 2018 A portfolio of compositions and commentary submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy Transformative Mimicry — !2 Contents List of Portfolio Compositions................................................................................................. 4 List of Figures......................................................................................................................... 8 List of Audio Examples........................................................................................................... 9 Permissions.......................................................................................................................... 10 Copyright Statement............................................................................................................. 11 Abstract................................................................................................................................ 12 Introduction____________________________________________________________ 13 Chapter 1: Methods______________________________________________________ 15 1.0 Transformative Mimicry______________________________________________ 15 1.0.1 Terms: Transformative & Mimicry............................................................... 16 1.0.2 Terms: Embodied Knowledge, Technique, Practice, Listening.................. 19 1.0.3 Terms: Voice & Vocality.............................................................................. 22 1.0.4 Terms: Method & Process.......................................................................... 24 1.0.5 Transformative Mimicry Template.............................................................. 26 1.1 Method 1: Transcription______________________________________________ 27 1.1.1 Context: Transcribing as Mimicking........................................................... 29 1.1.2 Context: Transcribing as Transforming...................................................... 32 1.1.3 Transcription Template............................................................................... 36 1.2 Method 2: Automatic Singing__________________________________________ 37 1.2.1 Context: Singing-Along & Automaticity...................................................... 38 1.2.2 Context: Process-Led Work & Post-Notation Practice............................... 43 1.2.3 Automatic Singing Template....................................................................... 46 Chapter 2: Commentary__________________________________________________ 48 2.1 Research Phase 1: Notated Work (Transcription)__________________________ 48 2.1.1 About Bach (2014)..................................................................................... 48 2.1.2 Duet for Cello and Orchestra (2015).......................................................... 61 2.1.3 Round (2016)............................................................................................. 66 2.2 Research Phase 2: Non-Notated Work (Automatic Singing)__________________ 68 2.2.0 Non-Notated Work: Exploratory Stage....................................................... 68 2.2.1 Undone (2015)........................................................................................... 72 2.2.2 So Close #1 (2016).................................................................................... 81 The Tracery Project 2.2.3 Tracery : Lazy, Rocking (2016).................................................................. 89 2.2.4 Tracery : Hardanger (2017)....................................................................... 91 2.2.5 Tracery : The Slits (2017)........................................................................... 95 2.2.6 So Close #2 (2018).................................................................................... 99 Transformative Mimicry — !3 2.2.7 Tracery : Attending to a task (2018)......................................................... 102 2.3 Research phase 3: Crossover work (transcription of automatic singing)_______ 104 2.3.1 Traveller Song (2017).............................................................................. 104 Chapter 3: Conclusions_________________________________________________ 105 3.1 Musical Tools (Comparisons)________________________________________ 105 3.1.1 Melodic Repetition & Melodic Repeating................................................. 107 3.1.2 ‘Focussing-In’........................................................................................... 111 3.1.3 Accord & Attunement................................................................................ 113 3.1.4 Musical Tools (Contrast)........................................................................... 115 3.2 Guiding Questions, Revisited________________________________________ 116 3.2.1 First Answer: Types of Research............................................................. 116 3.2.2 Second Answer: Areas of Technique........................................................ 117 3.2.3 Third Answer: Old Technique, New Space............................................... 121 Appendix: Ethical Review________________________________________________ 127 Bibliography__________________________________________________________ 128 Texts..................... 128 Musical Works...... 135 Media................... 137 Transformative Mimicry — !4 List of Portfolio Compositions Corresponding media files are found on the accompanying USB stick. The digital file names take the format ‘Portfolio_[piece title]’. Composition Documentation About Bach (2015) Score submitted: Yes Instrumentation: String Quartet Media: Audio Duration: 24’30” Performers: Quatuor Bozzini Performances: Recording date: 2018 • 2015 Quatuor Bozzini, Angelica Festival, Credits: recording produced by Bologna tonmeister Stephan Schmidt • 2016 Quatuor Bozzini, Cluster New Music Provenance: from the disc 'Just and Integrated Arts Festival, Winnipeg So' (at129), a joint release of the labels collection qb and Another Timbre • 2017 Quatuor Bozzini, Regina • 2017 Quatuor Bozzini, Victoria Permission: Another Timbre • 2017 Quatuor Bozzini, Montreal • 2017 Quatuor Bozzini, Toronto • 2018 Quatuor Bozzini, Jakarta • 2018 Quatuor Bozzini, Time:Spans Festival, New York City • 2018 Quatuor Bozzini, Klangspuren Schwaz, Innsbruck Duet for Cello and Orchestra (2015) Score submitted: Yes Instrumentation: Full Orchestra (3333 / 4331 / Media: Video perc (3) / strings) and Solo Cello Performers: Charles Curtis, Cello, and Duration: 30’ the BBC Scottish Symphony Orchestra, Ilan Volkov conducting Commissioned by: Charles Curtis with the support of the Canada Council for the Arts Recording date: 2015 Performances: Provenance: Live concert recording owned by the BBC • 2015 Charles Curtis, Cello, BBC Scottish Symphony Orchestra, Tectonics Festival Permission: BBC Glasgow • 2015 Charles Curtis, Cello, Orchestra of the Opera House, Angelica Festival Bologna • 2017 Charles Curtis, Cello, Winnipeg Symphony Orchestra, Winnipeg New Music Festival Transformative Mimicry — !5 Composition Documentation Round (2016) Score submitted: Yes Instrumentation: Orchestra (2222 / 4431 / perc Media: Audio (1) / single strings: 86553) Performers: BBC Scottish Symphony Duration: 12’ Orchestra with Ilan Volkov conducting Commissioned by: Toronto Symphony Orchestra Recording date: 2016 Performances: Provenance: Live concert recording • 2016 Toronto Symphony Orchestra, Toronto owned by the BBC New Music Festival Permission: BBC • 2017 BBC Scottish Symphony Orchestra, Glasgow • 2017 BBC Scottish Symphony Orchestra, Birmingham • 2018 Winnipeg Symphony Orchestra, Winnipeg New Music Festival, • 2018 University of Victoria Symphony, Victoria Undone (2015) Score submitted: No Instrumentation: Meditating Performer, Tape Media: Audio Duration: 7’ Performer: Jennifer Thiessen Performances: Recording date: 2016 • 2016 Jennifer Thiessen, Cluster New Music Provenance: Home recording (archival and Integrated Arts Festival, Winnipeg stereo version) Permission: Jennifer Thiessen (consent form in Appendix 1) So Close #1 (2016) Score submitted: No Instrumentation: Violin, Tape Media: Audio Duration: