Intercultural composition and the realisation of ancient and medieval music

  • Kim E. Cunio

Western Sydney University thesis: Doctoral thesis

Abstract

This thesis argues that there is a methodology, or series of methodologies that make it possible to realise music from a number of cultures, and that realisation is itself part of the process of intercultural exploration and composition. This proposition relates specifically to a portfolio of work undertaken at the same time as this dissertation that ranges from realisation of ancient and medieval music to new composition. It will be argued that such music is intercultural in its essence, and that this music is 'new music'. The thesis comprises a body of creative work and an exegesis that contain five major parts. The first is a definition of intercultural activity and realisation where prominent examples of intercultural composition, music realisation and commentary are examined. The second part is an examination of The Temple Project, certainly the most ambitious work presented in the accompanying portfolio. The thesis argues that The Temple Project has a place both in the genre of an artistic realisation of ancient music, as well as being part my own body of work as a composer. The third section responds to The Sacred Fire, a realisation of the music of Hildegard of Bingen. The thesis argues that there is merit in undertaking a radical intercultural creative process with Hildegard's music, which can include new composition. New composition and the realisation process will be examined. The fourth is an investigation of two smaller works in the accompanying portfolio. Mandala for Dawn and Namu Amida Butsu are new compositions that respond to the teachings and music of particular traditions. The thesis proposes that new intercultural composition is not very different to the realisations presented earlier, and that they benefit greatly from detailed intercultural experience and understanding. The final section of the exegesis examines my own life, my own larger body of work, my own accompanying process of cultural investigation and understanding, and the potential of such explorations. This section also defines the multiple roles that the realiser often undertakes, ranging from historian / musicologist, composer, producer, performer, and even audio engineer. The thesis concludes by identifying areas for further investigation.
Date of Award2008
Original languageEnglish

Keywords

  • ethnomusicology
  • composition (music)
  • realisation
  • music
  • intercultural
  • medieval music
  • ancient music

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