Collaboration between composer, performer and sound engineer in new Australian natural phenomena-themed compositions for classical guitar

Abstract

This Doctor of Arts (DCA) project’s two main aims are to add to the Australian classical guitar repertoire and provide insights into the composing, performing and recording of new Australian natural phenomena-themed compositions. In doing so, it provides observations on how a range of natural phenomena themes, including flora, fauna and landscape, are heard in the music and how these works are prepared for recorded performance. The term “Australian natural phenomena” encompassing flora, fauna and landscape, was adopted for the project to replace the originally proposed term “Australiana” which some participants associated with colonialism. While there is an abundance of literature and some recordings of Australian natural phenomena themed music, only a small proportion of the repertoire focuses on classical guitar. Composing and performing lend themselves to a qualitative-based research methodology. In this project, a practice-led research methodology with some ethnographic and phenomenological aspects was adopted. The eight Australian composers who participated in, and were interviewed for, this project, used a variety of compositional methods when representing Australian natural phenomena. These included specific applications of scales, harmony and extended techniques. The project is the collaboration between composers, performers and sound engineer which resulted in a recording of eight new Australian natural phenomena themed original compositions, totaling one hour and twenty minutes. Compositions ranged from solo to small ensemble pieces with all compositions featuring classical guitar. Many forms of natural phenomena were represented by the composers, with landscape being the predominant choice. Australia has been represented geographically from East to West and also North to South. The project featured different styles of collaboration between composer-performer and performer-performer such as directive, interactive and cooperative. The style of collaboration was impacted by various factors including geographic location of the composer, instrumentation and experience in writing for guitar. The project showed the importance of face-to-face qualitive research through interview and rehearsals, and how these collaborations progressed. The observations and insights into collaboration from initial brief to performing, recording and mixing aims to inform future musical collaborative projects. Involvement in studio recording projects is a valuable opportunity for both composer and performer, and this thesis provides useful information as well as inspiration for those wishing to participate in a similar project.

Date of Thesis submission	2025
Original language	English
Awarding Institution	Western Sydney University
Supervisor	Diana Blom (Supervisor) & Clare Maclean (Supervisor)