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This portfolio consists of nine compositions and an accompanying commentary on each of the pieces. The earlier compositions represent the exploration of preoccupations with canon, counterpoint, and rhythmically-charged, pulsating mobiles. This led to the further research elements incorporating the development of rhythmic motifs and their proliferation, culminating in static sonic canvases, slowing the rate of harmonic change. Investigative research into the various gradations applied to amplitude levels, first explored in my electronic music and then applied in the form of dynamics in my acoustic writing, represents another highly-featured process in this thesis. The opening chapters chart the processes of the compositional techniques attained over the course of the degree, with reference to my musical background, my interest in timbre and rhythmic development, through the exploration of electronic music.
With reference to the study of softwares, for sampling and synthesis allowing for the manipulation of sounds, by changing registers, pitch, by time stretching alongside the myriad of synthesis applications available, I reference some of the cross-fertilization processes with regards to my acoustic compositions. The nine compositions ranging from duo to orchestral works mark the culmination of four years of research embracing the aforementioned features, leading to the development of my current aesthetic of music.
Egan, P. (2017) Accretion and Acrylics: Composition Portfolio with Commentary. Doctoral thesis, DIT, 2017. doi:10.21427/D7G118