Research propositions [RPs]
RESEARCH AREA 1: MUSIC AS PHENOMENOLOGICAL MECHANICS
General RPs
Primary RP 1A
Primary RP 1A
The phenomenological experience of directional movement within a music composition is conceptually representable as a
“phenomenologically determined, hierarchically organised, multi-parameter, form-void vector field”.
“phenomenologically determined, hierarchically organised, multi-parameter, form-void vector field”.
Primary RP 1B (Corollary)
The phenomenological experience of development or resolution at a given point in the experience of music is representable as the vector sum of the contributing phenomenologically determined vectors, such that a net positive vector sum correlates with the experience of musical development at that time, and a net negative vector sum correlates with the experience of resolution.
Primary RP 1C (Corollary)
The phenomenological experience of directional motion in music, occurring at the phenomenological rather than material level, is representable in terms of the concept of phenomenological mechanics — a novel concept that examines the experience of subjective phenomena such as time, directional motion and related parameters in terms of the laws of mechanics, which govern the behaviour of physical bodies in the natural world.
RESEARCH AREA 2: COMPOSITION AS INTERCULTURAL METAPHOR
Secondary RP 2A
Western and Eastern musical forms can be considered metaphors for the philosophical and cultural paradigms in which they originate, and specifically, for contrasting Western and Eastern representations of time.
Exegesis RPs Referencing the Intercultural and Historical Contexts of the Artefact
Secondary RP 2B (Exegesis)
The submitted creative work Oscillation 1, because of its harmonic organisation and global form, is a metaphor for the linear and cyclic representations of time in Western and Eastern paradigms.
The submitted creative work Oscillation 1, because of its harmonic organisation and global form, is a metaphor for the linear and cyclic representations of time in Western and Eastern paradigms.
Secondary RP 2C (Exegesis)
As an intercultural composition with characteristics of minimalist music and interculturality consistent with Kurokawa’s philosophy of symbiosis, Oscillation 1 may be considered an instance of intercultural symbiotic minimalism.
As an intercultural composition with characteristics of minimalist music and interculturality consistent with Kurokawa’s philosophy of symbiosis, Oscillation 1 may be considered an instance of intercultural symbiotic minimalism.
RESEARCH AREA 3: APPLICATIONS OF THEORY TO MUSIC PERFORMANCE AND ANALYSIS
Tertiary RPs for Application to Music Composition and Performance
Tertiary RP 3A
Incorporating the Western compositional concepts of linearity and horizontality of time, and vectorial development, the dissertation presents a geometric model of music compositional form as helix.
Incorporating the Western compositional concepts of linearity and horizontality of time, and vectorial development, the dissertation presents a geometric model of music compositional form as helix.
Tertiary RP 3B
Incorporating the Eastern compositional concepts of cyclicity and verticality of time, and development by intensification, the dissertation presents a geometric model of music compositional form as vortex.
Incorporating the Eastern compositional concepts of cyclicity and verticality of time, and development by intensification, the dissertation presents a geometric model of music compositional form as vortex.
RESEARCH AREA 4: NEWLY IMAGINED INSTRUMENTS AND NOVEL COMPOSITIONAL PROCESSES — INSTRUMENT MODIFICATIONS, PROGRESSIVE RHYTHMIC IMPROVISATION METHOD, STUDIO ACCOMMODATION PROCESS, EQUI-HARMONIC COMPOSITION
Artefact RPs Referencing Instrument Design, Improvisation Algorithm, Studio Process and Composition Method
Artefact RP 4A Oscillation 1 presents newly imagined instruments, specifically the 8-string regular interval guitar, the 6-string fretless octave guitar. and the 12-drum harmonic tabla set, which are novel re-imaginings of the instruments from which they are derived.
Artefact RP 4B Oscillation 1 presents an algorithm for progressive rhythmic improvisation in 12 keys for pitched percussion such as the tabla.
Artefact RP 4C Oscillation 1 presents a systematic studio recording and mixing process that facilitates the production of 12-key rhythmic improvisation for pitched percussion instruments applicable to studio recording when real-time re-tuning of instruments is not feasible.
Artefact RP 4D Oscillation 1 exemplifies the concept of “equi-harmonic composition” — that is, it is a composition that has equal harmonic distribution across all 12 major keys.
