The Creative Process in Cross-Influential Composition

Description:

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

Creator(s): Anderson, Jonathan Douglas
Creation Date: May 2010
Partner(s):
UNT Libraries
Collection(s):
UNT Theses and Dissertations
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Total Uses: 216
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Publisher Info:
Publisher Name: University of North Texas
Publisher Info: Web: www.unt.edu
Place of Publication: Denton, Texas
Date(s):
  • Creation: May 2010
Description:

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

Degree:
Level: Doctoral
Discipline: Composition
Department: College of Music
Language(s):
Subject(s):
Keyword(s): Creative process composition | electronic cross-influential | electroacoustic | MAX/MSP
Contributor(s):
Partner:
UNT Libraries
Collection:
UNT Theses and Dissertations
Identifier:
  • UNTCAT: b3875888 |
  • OCLC: 680648752 |
  • ARK: ark:/67531/metadc28386
Resource Type: Thesis or Dissertation
Format: Text
Rights:
Access: Public
License: Copyright
Holder: Anderson, Jonathan Douglas
Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.