A cross-cultural and multimedia fractured Macedonian-Australian compositional voice

Abstract

This thesis aims to explain my personal musical voice, illuminate creative intentions, shed developmental insight on the multi-media compositions, and argue for a fractured Macedonian-Australian voice that is expressed through these compositions as a multiple enrichment of personal Macedonian-Australian experiences. These processes work with film music orientated eclecticism, Macedonian folk music principles and image-fractured sound juxtapositions that are viewed from an imaginative thriller aesthetic lens to engage audiences and provide a fresh cross-cultural perspective. I consider that my multimedia compositions are underpinned by a personal creative voice that draws from my imagination and uses a wide scope of sonorities. The sonorities draw on the harmonic language of classic Hollywood film composer Bernard Herrmann, plus the eclectic structural juxtapositions of the more recent film work of Michael Giacchino. This voice is also embedded with the traditional Macedonian folk music that embellishes my Macedonian experience, and 1950s avant-garde techniques which express my Western educational experience in Australia. Through the thriller lens I see fresh perspectives which trigger my imagination to be sparked and developed cross-culturally within a multi-media dimension and visually-inspired pure music forms. This cross-cultural journey is explored in this thesis through my credo principles, the process in my creative practice, and an analysis that unpacks its techniques, and concludes with its aims of a fractured Macedonian-Australian voice. My credo principles drawn from my cross-cultural experience are, musically: Herrmannesque sonority, glocalized approached, traditional Macedonian techniques (additive meters, makams adaptations, and transformed timbres), avant-garde techniques (European UK extended techniques, New World Australian/Hollywood, fusion of avant-garde/Macedonian) juxtaposition, architectural musical design and added value. Donald Schön's reflection-in-action process has provided me insight into indeterminate practice-based situations and an understanding of the collaborations required to realise the creative works. The thesis analyses the five works created within the scope of this doctorate, with five structural paradigms based on the thriller aesthetic. The Uzunoski Suite (2009) is analysed in terms of juxtaposition working with an accumulating architectural design; Macedonian Nightclub (2011) and Fragile Temnica (2014) for juxtaposition of structures working with atmospheric narrative and pure music forms; Strange Ways (2013) with juxtapositions derived from an abstract design; and The Water Vessel (2012) with juxtapositions operating within mutual narrative moving imagery form.

Date of Award	2014
Original language	English