The symbolic dimension: an exploration of the compositional process
Abstract
This thesis presents the results of a creative process, which has evolved over the
past four years, as a consequence of my engagement with selected extra-musical
and musical sources, as a scholar and composer. These sources pertain, broadly, to
the following four fields of research: (i) the mythology of the ancient ear East; (ii)
Islamic mysticism and its counterparts; (iii) historical and current events in the
ear East; and (iv) the classical musical heritage of the Middle East. Where
appropriate, related sources from other fields, such as the works of Carl Gustav
Jung, have been drawn upon.
The first part of this thesis comprises a folio of nine compositions, eight of
which are recorded on accompanying compact discs and videos. Each of these
compositions was conceived as the result of my interaction with sources pertaining
to one or more of the above fields of research. My interpretation of these sources is
expressed in musical structures and processe , which comprise the symbolic
dimension of my compositions. The titles, instrumentation and duration of the
submitted compositions are as follows : Al-Hisar for viola (version for violoncello also included), circa 7 minutes.
Al-Kauthar for violoncello, circa 8 minutes.
An Orientalist In Palestine for symphony orchestra, circa 10 minutes
Between Two Rivers: A Cycle of Three Works for mezzo soprano, flute,
trombone, pianoforte, percussion, violin and violoncello, circa 30 minutes. Mahdoom for trombone, circa 8 minutes.
Night Journey for string quartet, circa 30 minutes.
Noor for violin soloist and orchestra, circa 10 minute
Tre Preghiere di Nabuccoduriussor for guitar, circa 12 minute
Wonders of Babylon for trombone and wind orchestra, circa 35 minutes. The second part of this thesis compnses a dissertation, of approximately
45,000 words, in which the symbolic dimensions of the submitted compositions are
analysed, with reference to selected twentieth century and contemporary western art
music. These analyses are grouped into specific chapters, according to the field of
research predominantly referred to in the compositions' symbolic structure and
processes. In each chapter, the specific musical analyses are incorporated into a
wider discussion of the compositional process, which draws upon methodologie
espoused by Jean Jacques attiez and others. This discussion entails a detailed
examination of the extra musical and musical subject matter informing my
compositions, as a case study of the compositional process.