Back and Forth: Four pieces for various instrumentation involving the study of creative processes as a method for composing

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dc.contributor.advisorRadford, Ronald Laurie Charles
dc.contributor.authorPecktor de Oliveira, Lauro César
dc.contributor.committeememberBell, Allan Gordon
dc.contributor.committeememberLatham, Noa
dc.contributor.committeememberWiens, Jason Lee
dc.contributor.committeememberHasegawa, Robert
dc.date2022-10
dc.date.accessioned2022-09-26T14:40:34Z
dc.date.available2022-09-26T14:40:34Z
dc.date.issued2022-09-19
dc.description.abstractThis thesis aims to explore the ways in which the study of another composer’s creative process can stimulate, influence, and provide knowledge to one’s own creative process. As a response to this proposition, I composed four original works; these are: Abstractions to Mr. Sch.² (for orchestra, 2018-2021), Miniatures to Ms. A. (for piano trio, 2019), acrostic (to alcides l.) (for flute and percussion, 2020), and pieces with amplified thoughts (for piano and sound files, 2021). Each composition was created after the study of another composers’ creative process(es) of selected work(s) through their respective working documents. The selected composers and works are the following: R. Murray Schafer (1933-2021), Seventh String Quartet (1998), Violet Archer (1913-2000), Concerto for Violin and Orchestra , first movement (1959), alcides lanza (1929-), plectros IV (1974-I) , son glosas, claro… (1991-I) , ontem (1999-I) , and Norma Beecroft (1934-), Cantorum Vitae (1981), Amplified String Quartet with Tape (1992). Due to its nature, this research draws from theories and models that involve both the study of the creative process a posteriori and in real-time. Thus, the working documents of the selected works are approached by: 1) understanding the chains of operations that unveil the singular musical logic of the creative process (Donin); 2) investigating the network of relations behind the compositional operations (Sallis); 3) accounting for the sonic reality of the documents, therefore producing audio files of excerpts whenever necessary (Chaves). The double role of researcher-composer is supported by other studies that follow the same or similar endeavour (Leroux; Reynolds; Roels). Considering the creative process as a collection of activities instead of a progressive linear single-activity endeavour (Zembylas), and also considering the knowledge that can emerge from this study, I looked into each set of working documents critically, as a composer. From each studied creative process I selected one important agential aspect after which I composed each of my own works.en_US
dc.identifier.citationPecktor de Oliveira, L. C. (2022). Back and forth: four pieces for various instrumentation involving the study of creative processes as a method for composing (Doctoral thesis, University of Calgary, Calgary, Canada). Retrieved from https://prism.ucalgary.ca.en_US
dc.identifier.urihttp://hdl.handle.net/1880/115272
dc.identifier.urihttps://dx.doi.org/10.11575/PRISM/40278
dc.language.isoengen_US
dc.publisher.facultyArtsen_US
dc.publisher.institutionUniversity of Calgaryen
dc.rightsUniversity of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission.en_US
dc.subjectmusic compositionen_US
dc.subjectcreative processen_US
dc.subjectsketch studiesen_US
dc.subjectgenetic criticismen_US
dc.subjectmusic sketchesen_US
dc.subject.classificationMusicen_US
dc.titleBack and Forth: Four pieces for various instrumentation involving the study of creative processes as a method for composingen_US
dc.typedoctoral thesisen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorUniversity of Calgaryen_US
thesis.degree.nameDoctor of Philosophy (PhD)en_US
ucalgary.item.requestcopytrueen_US
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