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Abstract

This exegesis is a document of my rediscovery of emotion and
expression in my music. It is also a chronicle of my acknowledgement and
incorporation into my methodology of my many influences. Moreover, it is a
recounting of how I utilized emotion, expression, and my various influences in
the creation of the folio compositions.
There are two primary aspects that unify the compositions in the folio.
The first aspect is the diversity of musical and extra-musical models, such as art
music, popular music, literature, and films, which influence the compositional
process. The second aspect is that an expressive ethos, defmed as a general
affective or emotional state that expressively informs the composition,
characterizes each work and affects the compositional process.
There are two basic types of expressive ethos that are represented in the
folio compositions. The first type I call "cinunerian" and it is concerned with
what might be considered negative emotional states such as anger, grief, or fear.
The second one, the "elysian" ethos, is concerned with what might be
considered positive emotional states, such as happiness, excitement, or joy.
Most of the folio compositions represent either the cirrunerian or elysian ethos.
However, there are a few compositions that do not represent merely one
expressive state, but are concerned with the transformation from one ethos to
the other, typically from the cimmerian to the elysian. I refer to the
transformation of the expressive ethos in these compositions as "protean."
In the exegesis, I clearly define the above features, clarify their
relationship to music history, explain my compositional methodology, and
demonstrate the role of each aspect throughout the process. I provide a brief
discussion of my placement, literally and aesthetically, in music history
(Chapter 1), focusing primarily on my relationship to three prominent trends in
the twentieth century. I also discuss how I formulated compositional and
aesthetic conclusions and how they informed my current praxis (Chapter 2). In
the chapters focusing on the cinunerian (Chapter 3), elysian (Chapter 4), and
protean (Chapter 5) works, I explain in detail each ethos and how I utilize
musical and extra-musical influences in my compositions. In short, this exegesis
examines, with examples from the folio, how I am incorporating more
traditional affective techniques and past tonal practices as they have been
filtered through and influenced by the musical environment of the last century.

Item Type:	Thesis - PhD
Authors/Creators:	Hill, Adam B.(Adam Brantley)
Keywords:	Composition (Music)
Copyright Holders:	The Author
Copyright Information:	Copyright 2004 the Author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s).
Additional Information:	"A folio and exegesis". Includes 13 of the author's compositions. No photocopying permitted until December, 2006. Thesis (Ph.D.)--University of Tasmania, 2004. Includes bibliographical references
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