Search

This exegesis explores how four types of quotation outlined by musicologist Krystyna Tarnawska-Kaczorowska – parole and langue quotation, quotation-signatures and quotation-symbols are employed in short form works to create an individual language rooted in ‘historical sense’. The influence of nineteenth-century composers who wrote in short forms such as Grieg and Schumann is mentioned as formative to my explorations in such forms, along with how a “romantic” style is explored in several pieces. The use of chromatic completion is discussed as a way of providing compositional balance in Two Rhythmic Duos for two bass clarinets, along with its use in …infinite song… for piano solo and Baltic Song for clarinet and piano as a quotation-symbol symbolizing infinity. An analysis of how the various types of quotation are employed in Hommage à Haydn and …infinite songs (1-8)… for piano solo includes a discussion on how langue quotation and quotation-signatures are employed as a means of paying homage to historical and contemporary figures. The use of langue quotation in Tuk Tak Dung for S.A.B. chorus, where it is employed to imitate three different traditional music styles found in Malaysia is also explored. An in-depth analysis on how the Fibonacci series is employed to construct the theme of the ‘Variations’ movement of Two Orchestral Movements also features, along with a discussion on how the movement’s formal properties are influenced by Fibonacci numbers. A folio of original compositions includes short form works for solo piano, guitar and harp, and a range of chamber works requiring from two to four performers. Also included in the folio is a work for chorus, along with a longer orchestral work. Recorded performances of a number of folio pieces are included.