Martin G. Georgiev

MORPHING MODALITY

Multimedia Web Presentation

based on

Tradition and Innovation in my Music

PhD Thesis

Royal Academy of Music

University of London

2012


containing the theoretical text with relevant excerpts from the scores and sound recordings

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Contents



Click on the entries below to access content.



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