Contents
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Abstract
Portfolio
Acknowledgements
Introduction
Chapters:
1.Roots
1.1.Eastern Chant, Bulgarian Chant
and my music
1.2.Horizontal Harmony and Modulation in Eastern Chant
and its relevance to my compositional technique
1.3.Morphing Images (Image Metamorphosis) and Imaginative Visualisation
and their relevance to my compositional method and the harmony of Eastern Chant
2. The Sacred Flight
Morphing Modality
2.1.Why Modes?
Diatonic scales and spectral similarity, perceptual consonance and textural balance of consonance/dissonance
2.2.Verticals, Windows...
Modal Clusters, Cluster Trichords, Endings
3.The Mirror
‘Clarity’ Vs ‘The Mystical’, complexity, variable perception,
orchestration, gesturality and symphonic drama
3.1.Leit-Ideas, Texture
morphing texture, morphing rhythm
3.2.The Duel: from amalgamation to annihilation
morphing polyphony, heterophony and homophony
4.Three Songs on Poems by Dora Gabe
Modal Centre
4.1.‘Phoni’, ‘Tetraphonia’ and my compositional method
4.2.Two methods for creating a modal centre
linear vectors, Ison
4.3.Phrasing and synchronisation
tonality, atonality and morphing modality
5.String Quartet No.1
Microtonal morphing modality
6.Percussion Concerto No.3 Genesis
Rhythm: regular or irregular? hyper-structuring, metaphors
6.1.Fifth-repeating modes, fourth-repeating modes (tetraphonia, triphonia)
in the Third Percussion Concerto and A Seasong
7.Apocalyptic Passacaglia on a Theme by John Cage
‘rhythm box rhythm’, Fibonacci, Fontana, visuals, silence, cuts, war
7.1.Implications on musical form
Conclusion
Bibliography
Footnotes
Figures and Examples
