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Permanent link (DOI): https://doi.org/10.7939/R3BN9XD9T

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an interlude between two nothings: A Musical Composition for Flute, Clarinet, Violin, Cello, Piano, Augmented Electric Guitar, and Fixed Electronics, with Accompanying Document Open Access

Descriptions

Other title
Subject/Keyword
Solo Piano Music
Absurdism
Cosmology
Music Composition
Chamber Music
Augmented Electric Guitar
Type of item
Thesis
Degree grantor
University of Alberta
Author or creator
Labadie, Colin M.
Supervisor and department
Smallwood, Scott (Department of Music)
Examining committee member and department
Ingraham, Mary (Department of Music)
Després, Jacques (Department of Music)
Bashaw, Howard (Department of Music)
Hamel, Keith (External)
Department
Department of Music
Specialization

Date accepted
2015-09-23T08:17:27Z
Graduation date
2015-11
Degree
Doctor of Music
Degree level
Doctoral
Abstract
"an interlude between two nothings" is a musical work approximately thirty-five minutes in length. It is scored for flute, clarinet, violin, cello, piano, fixed electronics, and an augmented electric guitar. The work is divided into six movements, which alternate between two contrasting streams. One stream attempts to evoke a rational quest for knowledge through the metaphor of the universe’s origins and evolution, while the other stream suggests the absurdity in such quests by my imagining of the universe’s ultimate destruction. The contrasting goals of these streams is reflected in their respective creative approaches: the former is composed primarily for the acoustic medium, and develops increasingly fixed and ordered musical materials; the latter is improvised exclusively in the electronic medium—namely, an augmented electric guitar that I designed and constructed—and uses a variety of destructive and/or deteriorative signal-processing effects. The separation of fixed/ordered materials in the acoustic medium and improvised/destructive materials in the electronic medium is reflective of my overall creative practice in recent years. This thesis is divided into two broad sections: an analysis of an interlude between two nothings, followed by the score itself. In the analysis, I begin by contextualizing the work within my own creative output as well as the broader repertoire. I then analyze the entire work, beginning with broad considerations such as narrative and formal structure, and then moving to more a more detailed discussion of specific creative approaches in each of the respective streams.
Language
English
DOI
doi:10.7939/R3BN9XD9T
Rights
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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