Output details

Sleeping Water : [for clarinet, viola and piano]

Originality: Textural density was first described as a theoretical composition technique (Schillinger 1946) but never fully explored or demonstrated. In my preparation of Sleeping Water I have, in part, set out to show that the theory can be applied artistically and not be confined, as in the original text, to hypothetical situations and the most obvious orchestral groups. My composition implements Schillinger’s theory and reaches beyond the framework he suggested by incorporating instrumental resources, extended techniques and exploiting electroacoustic concepts unknown to Schillinger and his contemporaries.

Significance: Lumina is the only published composition to make extensive and transparent use of textural density techniques. It stands alone as a concert piece but in addition it is also a pedagogical resource because of my extensive analysis and documentation of its technical procedures.

Rigour: The composition of Sleeping Water was informed by analysis of Schillinger’s highly mathematical text. My achievement was to render this research into a form appropriate to real musical composition. Having turned theory into practice, it is possible to demonstrate to students how complex rhythmic patterns, melodic phrases and sonic textures may be treated as major components of the score at an early stage of the creative process. This approach is especially relevant to current trends in contemporary music.