This thesis delineates the theoretical and conceptual background of the compositions that constitute the accompanying portfolio. Underlying principles regarding structure, materials and aesthetic decisions are outlined with special focus on their relationships with certain philosophical and scientific concepts. The thesis endeavours to demonstrate an active critique of identity and fixity within compositional practice and thought. It does this by defining and consequently applying the concept of non-identity – understood as continuous non-fixity structure – as a compositional principle. This involves a certain exploration of separation and inseparability, as well as instability and stability within and between these strata: structure, physicality and sound. The concept of nonidentity is essentially accumulative, meaning it gradually incorporates more and more concepts (such as nonlinearity, pure movement/difference, desiring-machines, etc.), which consequently become active within the compositions. This means that the identity and fixity critique gradually gains strength and breadth as the thesis progresses and eventually affects all aspects of my compositional thought, i.e. each compositional element (ranging from instrumental material to form) becomes subjected to the nonlinear, de-territorial, non-fixed and continuous character of non-identity. This results in a new perspective on what structure in music can mean and a new definition of the relationships between conductor, score and performers, as well as their individual function. Each chapter corresponds to a year of research, thus the thesis follows the investigation according to its chronological development. Throughout the thesis, the discussions are mainly contextualized through the philosophy of Deleuze, Bergson and Laruelle, as well as with examples from contemporary music compositions.
|Published - Oct 2012