Compositions based on past models : different approaches

Abstract

This dissertation aims to explore how past compositions can be transformed into new ones by using different approaches. An approach may vary from one which is very close to the original to one which changes the musical material almost completely. This mainly depends on the composer’s intentions. Each approach mentioned in the literature review was in some way or another used in the composition portfolio that accompanies this dissertation. The results range from a composition that is solely based on an entire work, to a free composition inspired by another model. The first composition, Mephisto Waltz No.1, is an adaptation and orchestration of a composition by the same name composed by Franz Liszt. It explores how changing the instrumentation and taking out specific material from the original and using it in various ways may create different rhythms and textures. The second composition is a transformation of the traditional hymn Amazing Grace by John Newton. In this case the melody notes remain untouched, in contrast to the re-harmonisation that becomes more complex as it moves forward. There is a varying melodic line interruption in the last verse of the piece. Each verse in this composition makes use of different harmonic approaches, starting from the three primary triads, to a totally free chordal progression that is non-functional with the tonality of the piece. The third composition, Dawl Ta’ Qamar, is a piece inspired by Claude Debussy’s Clair de Lune. It uses the imitation approach, by imitating Debussy’s style in the original composition and the synthesis approach, where different quotations from the original are taken out of their original context and blended into the newly composed piece. The fourth and last piece is the Variations on a Theme of Paganini for Solo Trumpet, where, as implied by the name, the variation approach is used. It consists of a set of 17 variations that ends with a cadenza that captures material from some of the previous variations. Like the original work composed by Niccolò Paganini, this piece also explores several different virtuosic techniques (in this case for the trumpet), and how they relate to the compositional processes. In the analysis chapters there is a comparison of the model and the portfolio piece, as well as an exploration of the compositional techniques and processes used in writing the piece. The first part of this dissertation is a commentary that includes the literature review and the analysis of the pieces, as well as the lessons learned through this exercise. The second part consists of the four pieces that comprise the portfolio.