This research project has several research questions:
Main research questions:
What effect do spirals have on my artistic output?
Why do I choose spirals as a form of expression? What is their meaning?
How are spiral formations utilised in my works?
Secondary research questions:
How do I explore an emotive approach to musical development with a seemingly rational underpinning (or vice versa)? How does this inform eliciting individual creative expression?
And finally, a key consideration that is a byproduct of this research project:
Where am I situated in this music? 2.
I have been keeping a reflection journal throughout this project. I did not write in it every day, or even every week — only when I had a thought that heavily influences this project. Within these writings, I document key aspects of my values and the boundaries upon which I create. My aim is that I function as an observer and partaker throughout my compositions and improvisations. These reflections appear throughout the research catalogue, as I found these reflections particularly useful when analysing my creative psyche.
This artistic research project investigates three utilisations of Spiral formations:
Direct Practical Implementations: microstructures involving cyclic intervalic material that increases and decreases (left side, figure 1), involving spirallic intervalic systems (Polymorphic Shapes and Spirallic Patterns). This could be perceived by the audience, though in a more general sense. The listener would perhaps make observations such as “I can hear the music growing and shrinking” or “I can hear the pitches getting high and lower at the same time” — overall most listeners would notice a change in sound to this effect.
Macrostructure with Allegorical and Metaphorical Categorisations of spirals (recapitulation, evolution of ideas, deja vu, imagery) (middle, figure 1). This middle section has the most connections between artist and audience. It encompasses the imagery I have utilised for my compositions and improvisations — a common way the audience might describe a listening experience. For example: “I could see swirling water”, or “it sounded like a thundercloud rumbling in the distance”.
Indirect Conceptual Implementations: Spirallic imagery and conceptual notions that relate to spirals as a form of spiritual expression and symbolism (dare I say archetypical)) as well as a series of experiential-memes (e-memes) 1. such as ‘unity-individuality-reunification’ (right side). It is almost completely submerged in the artist’s mind — whilst I believe that a listener would draw spiritual connotations from my music I do not think they are going to establish some sort of e-meme.
What is this that draws me in?
Why do I feel swept away? Where does it end and I begin?”
— Journal Entry 14.08.2021
1. a term that I have coined and worked with for some time now. It explores the inherent tension of faith and how it exists within seemingly contradictory terms such as Christian Atheist. What do we believe when we don't believe? What then? It is explored more in connection with the theme 'Reconstruction' in part III of the research catalogue.
Although Changed, I Arise the Same: (The Spirituality of Spirals) is a personal artistic investigation into three utilisations of spiral formations in the creative process, that range from practical to conceptual means. This catalogue takes the form of a reflective text, with a specific focus on the working methods, contextual placement and considerations of this project. This artistic research project additionally explores working with various forms of orchestration, with musicians stemming from western-classical to improvising traditions.
“There is something about this creature.
I feel consumed by it.
Fully immersed in swirling sounds and the fury of liquid spirits.
2. I took on many roles in this project: conductor, composer, ensemble leader, saxophonist, and visionary. How did I balance each project within the larger framework of this research?
In each of the three sections Direct Practical Implementations; Allegorical and Metaphorical categorisations; Indirect Conceptual Implementations will outline how the formations have been utilised across three ensembles:
Murmuration (alto saxophone, tenor saxophone, bass clarinet, bassoon, trumpet 1+2, tuba, viola, cello, double bass, percussion)
Renewal Manifestation (alto saxophone, organ, strings [vn/va/vc], sound design)
Although Changed, I Arise the Same A work for my newly built instrument — the reconstructed organ, saxophone and two voices
Within figure 1 are two bridges (boxes at the bottom). Both relate to the perceptions of each main section. The left-hand box relates to practical parameters under structural form (musically speaking). An example of this would be how a theme within a fugue becomes presented in different versions- slowly altering in both rhythm, pitch and key. Within the project, I aimed to present material that was being replayed but twisted and evolved. The right-hand box relates to conceptual parameters within themes. This draws parallels with imagery not informing the structure of the music but informing the theme and atmosphere surrounding it — which then relates back to timbral quality and so on. Timbral quality relates back to the left-hand side of the graph and we are back to direct practical implementations again.