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Things That Drift Ashore: Concerto f...

Mason, Matthew A.

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Things That Drift Ashore: Concerto for Piano and Ensemble.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Things That Drift Ashore: Concerto for Piano and Ensemble./
Author:	Mason, Matthew A.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	128 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
Contained By:	Dissertations Abstracts International85-01A.
Subject:	Musical composition. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30419601
ISBN:	9798379794286

Things That Drift Ashore: Concerto for Piano and Ensemble.
Mason, Matthew A.

Things That Drift Ashore: Concerto for Piano and Ensemble. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 128 p.

Source: Dissertations Abstracts International, Volume: 85-01, Section: A.

Thesis (Ph.D.)--The University of Iowa, 2023.

The concerto, as a musical genre, exists as a dialogue between compositional experimentation and musical tradition. While the formal structures of concerti have expanded and developed, the relationship between soloist and ensemble (that the concerto represents) has remained stable. I sought to utilize three points of interaction within the concerto form to explore the changing relationships between those two musical bodies. The main interactions outlined in Things that Drift Ashore (concerto for piano and ensemble) are between the piano and soloist, the piano and ensemble, and the piano with itself, which allowed me to explore my own relationship with the piano as the large-scale narrative. These are accomplished through concepts of orientation, disorientation, and initiation to represent the interactions of the ensemble and the soloist. Using phenomenological ideas of consciousness and conscientiousness, I sought to explore how the ensemble and the soloist are two objects that orient towards each other and the dialogue that orientation created. The use of the piano concerto and the situation of the piano within the ensemble, both as contributor and outcast, allows for the innate narrative of this piece to work introspectively as well. The soloist as a body that exists both within the ensemble and outside it invites embodiment as a core method of delivering the piece's narrative structure. The piano acts as an intermediary device between the performer and the audience, with the performer's gestures and movements initiating the sound in the piano. The connection of gesture and sound represented a metamorphosis of the body, inspired by the music of Clara Iannotta and Simon Steen-Andersen and the art of Junji Ito. The titles of these movements are nods to Junji Ito's collected works, as well as Arnold Schoenberg's Book of the Hanging Gardens. Ito's grotesque and macabre art includes characters whose visible disfigurement represents a flaw of the body. The concept of the body, and its disfigurement, is represented sonically through the{A0}piano and the visual contortions of the performer. Lastly, the relationship between the piano and itself stem from the use of a second piano that uses internal performance methods, such as metal singing bowls, glass tumblers, and horsehair and fishing line bows, modeled after C. Curtis Smith and Stephen Scott. The pitch material of the piece, though not immediately evident sonically, is built on a resynthesis of a combined spectral analysis of my own voice and a bowed piano. As a pianist, this allowed me to further engage with the relationship between the soloist and the piano as a combined musical entity. Then, through traditional orchestration techniques, this harmonic language has been spatialized and stratified within the confines of the sinfonietta, rearticulating the dialogue between modern composition and musical tradition.{A0}

ISBN: 9798379794286Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Composition

Things That Drift Ashore: Concerto for Piano and Ensemble.
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520 $a The concerto, as a musical genre, exists as a dialogue between compositional experimentation and musical tradition. While the formal structures of concerti have expanded and developed, the relationship between soloist and ensemble (that the concerto represents) has remained stable. I sought to utilize three points of interaction within the concerto form to explore the changing relationships between those two musical bodies. The main interactions outlined in Things that Drift Ashore (concerto for piano and ensemble) are between the piano and soloist, the piano and ensemble, and the piano with itself, which allowed me to explore my own relationship with the piano as the large-scale narrative. These are accomplished through concepts of orientation, disorientation, and initiation to represent the interactions of the ensemble and the soloist. Using phenomenological ideas of consciousness and conscientiousness, I sought to explore how the ensemble and the soloist are two objects that orient towards each other and the dialogue that orientation created. The use of the piano concerto and the situation of the piano within the ensemble, both as contributor and outcast, allows for the innate narrative of this piece to work introspectively as well. The soloist as a body that exists both within the ensemble and outside it invites embodiment as a core method of delivering the piece's narrative structure. The piano acts as an intermediary device between the performer and the audience, with the performer's gestures and movements initiating the sound in the piano. The connection of gesture and sound represented a metamorphosis of the body, inspired by the music of Clara Iannotta and Simon Steen-Andersen and the art of Junji Ito. The titles of these movements are nods to Junji Ito's collected works, as well as Arnold Schoenberg's Book of the Hanging Gardens. Ito's grotesque and macabre art includes characters whose visible disfigurement represents a flaw of the body. The concept of the body, and its disfigurement, is represented sonically through the{A0}piano and the visual contortions of the performer. Lastly, the relationship between the piano and itself stem from the use of a second piano that uses internal performance methods, such as metal singing bowls, glass tumblers, and horsehair and fishing line bows, modeled after C. Curtis Smith and Stephen Scott. The pitch material of the piece, though not immediately evident sonically, is built on a resynthesis of a combined spectral analysis of my own voice and a bowed piano. As a pianist, this allowed me to further engage with the relationship between the soloist and the piano as a combined musical entity. Then, through traditional orchestration techniques, this harmonic language has been spatialized and stratified within the confines of the sinfonietta, rearticulating the dialogue between modern composition and musical tradition.{A0}
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