Abstract
Sculptures I (Incisive and Machine-like) was performed at the Freie Universität Berlin, a research university and one of the most prominent universities in Germany. It was performed by the ADUMÁ saxophone quartet as part of the Festkolloquium, with keynote lectures by, Prof. Michael Gerken University of Lethbridge; Sulfur tetrafluoride: New perspectives on an old molecule and Prof. Joseph Thrasher Clemson University;
Advances with Pentafluorosulfanyl-(SF5)-Containing Building Blocks
and In Search of Difluoromethylenesulfur Tetrafluoride, SF4=CF2.
Originality: Sculptures I is 'incisive and machine-like' and represents in musical terms the chiselling or chipping away of the sculptor. At the same time there is the sense of structure and connection at the molecular/cellular level. The 3+3+2 rhythm is key to the musical identity with each third truncated bar pushing the rhythmic energy forwards, creating a feverish drive and momentum. 'Sculptures' takes further new steps, with post-minimalist cells and textures combined with faster event-change and greater harmonic direction and functionality than previous work in this genre. A redefinition of postminimalism.
Significance: 'Sculptures' seeks to enhance knowledge and practice by addressing research questions such as: can novel rhythmic constructs create aural representations of chiseling, dramatic energy and intensity? And: can post-minimalist textures be intensified to produce more energised and functional outcomes?
Rigour: The application of these principals is exploited to create intensely idiomatic, driving music.
Advances with Pentafluorosulfanyl-(SF5)-Containing Building Blocks
and In Search of Difluoromethylenesulfur Tetrafluoride, SF4=CF2.
Originality: Sculptures I is 'incisive and machine-like' and represents in musical terms the chiselling or chipping away of the sculptor. At the same time there is the sense of structure and connection at the molecular/cellular level. The 3+3+2 rhythm is key to the musical identity with each third truncated bar pushing the rhythmic energy forwards, creating a feverish drive and momentum. 'Sculptures' takes further new steps, with post-minimalist cells and textures combined with faster event-change and greater harmonic direction and functionality than previous work in this genre. A redefinition of postminimalism.
Significance: 'Sculptures' seeks to enhance knowledge and practice by addressing research questions such as: can novel rhythmic constructs create aural representations of chiseling, dramatic energy and intensity? And: can post-minimalist textures be intensified to produce more energised and functional outcomes?
Rigour: The application of these principals is exploited to create intensely idiomatic, driving music.
| Original language | English |
|---|---|
| Publication status | Published - 28 Nov 2014 |