3483 research outputs found
Sort by
Tibetan Offerings For solo piano Ian Percy (2007/16)
No full textThe first sketches for this three-movement work date back to December 2007, the original score was the result of an experiment with a rather lazy compositional approach, where the primary material for each movement was developed at the piano instinctively over a number of weeks. Having sketched formal outlines, dynamic guideposts and rehearsed primary phrases and fundamental rhythms, whilst establishing a familiarity with the pitch materials, the initial score for each of these movements was generated from three part-improvised performances. The scores were then composed around this ‘instinctive’ framework.
Initial composition ceased in January 2008, but work resumed and was completed during a period of composition, revision and recomposition in May 2010. The three movements were edited further and re-notated in March 2016, when the third movement was also partially recomposed.
Inspired by a book of Tibetan Buddhist Offerings (Contemplations), phrases and teachings from the 14th Dalai Lama were referred to as the foundational character through which to emotionally shape the musical material. The subtitles for each movement evolved naturally from the character of the writing.
The approximate duration of the three movements holds proportional reference to the Golden Ratio: a, is to b, what b, is to c. This process was applied in reverse to derive the proportion for the first movement and calculated from the pre-determined lengths of the latter two
Rotations and Resonances Triptych – Part Three (Acousmatic) (2013-14) (Remixed and part recomposed in 2015)
No full textAs the title suggests, this is the third part in a triptych comprising an acoustic score for string quartet, an electroacoustic work for string quartet and tape, and this acousmatic version composed for multiple loudspeakers.
The triptych utilises rhythmic rotations and sonorous resonances as fundamental compositional units. The rotations (varied repetition, loop-cycles and self-similar replication) shape and manipulate the form, pacing, density and intensity throughout in strata of timbral variance.
Resonances are mostly heard in a linear fashion within the bass frequencies, but overlap and interact to produce heterodyning frequencies (sympathetic harmony similar in concept to wind multiphonics).
This acousmatic work composed entirely from the sounds of a violin (recorded by violinist-musicologist Dr Alberto Sanna), explores chains of rhythmic evolution (and devolution) within an immersive soundworld of vertical textures and warm ambiences – a steam sauna for the ear
The Majesty of the Master’s Providence (1 Clement 24.5)
No full textThe aim of this article is to challenge the traditional scholarly consensus regarding the use of the term 'providence' in early Christianity, especially in First Clement. The argument is developed through the close reading the relevant passage in its context as well as through a fresh comparison with the canonical 1 Corinthians. Taking into consideration some shared vocabulary, this study then makes an intriguing cross-reference to Cicero's exposition of Stoic ideas. Overall, this contribution nudges the discussion on the use of philosophy in the earliest layers of the Christian tradition