Boundary, Artefact, and Presence in Recent Work

Abstract

This dissertation describes compositional techniques and theoretical background for works composed during my time at Harvard. Two compositions predating this time are provided for context, laying out the problems I seek to address in the works presented in the portfolio. While earlier works of mine focused on the interactions of the performers’ physicality, newer works shift the focus to the interaction of the performers, their instruments, and the acoustics of a given performing environment. Some new works employ electronic sounds which act to conceal and reveal components of the acoustic instruments’ sound and engage with the specifics of the acoustic space. Other works are orchestrated for acoustic instruments pushed to states of instability.