Figure 1 - Perry, G. and Mio, V. (2012) The Adoration of the Cage Fighters available at: https://www.a-n.co.uk/media/5040462/, accessed 12.08.2021
Figure 1.1 - Methodological Approach Diagram, made by Aidan Teplitzky
Figure 1.2 - Seven Working-Class Time Pieces 6. Repetition, Musical material to be repeated, extract by Aidan Teplitzky
Figure 1.3 - Seven Working-Class Time Pieces 6. Repetition, Example of how the music is repeating, extract by Aidan Teplitzky
Figure 1.4 - Escapism 3. Interlude - I Just Wanted to Write Some Music, Example of layering musical material, extract by Aidan Teplitzky
Figure 1.5 - Escapism 1. Vice, Opening of movement to show melody in full, extract by Aidan Teplitzky
Figure 1.6 - Escapism 1.Vice, Development of the melody being reduced, extract by Aidan Teplitzky
Figure 1.7 - Escapism 1. Vice, Further development of melodic line being reduced, extract by Aidan Teplitzky
Figure 1.8 - Seven Working-Class Time Pieces 3. Needing Time of Arrival, Example of original speed of musical idea, extract by Aidan Teplitzky
Figure 1.9 - Seven Working-Class Time Pieces 3. Needed Time of Arrival, Development of musical idea being sped up, extract by Aidan Teplitzky
Figure 1.10 - Seven Working-Class Time Pieces 1. Expiration Date, Original Duration of musical idea, extract by Aidan Teplitzky
Figure 1.11 - Seven Working-Class Time Pieces 1. Expiration Date, Development of musical idea' s duration changing, extract by Aidan Teplitzky
Figure 1.12 - Theme With Variations Forced by Expectations, Theme in original key, extract by Aidan Teplitzky
Figure 1.13 - Theme With Variations Forced by Expectations, Theme modulated to G Major, extract by Aidan Teplitzky
Figure 1.14 - Seven Working-Class Time Pieces 5. Queuing, Example of score, extract by Aidan Teplitzky
Figure 1.15 - Seven Working-Class Time Pieces 7. Per Hour, Example of floating between chords, extract by Aidan Teplitzky
Figure 1.16 - Seven Working-Class Time Pieces 7. Per Hour, Development of changing between chords, extract by Aidan Teplitzky
Figure 1.17 - It's Hard to Make an Oboe Sound Working Class, Quote of I Got You Babe by Sonny and Cher (Bono, S. (1965)), extract by Aidan Teplitzky
Figure 1.18 - It's Hard to Make an Oboe Sound Working Class, Example of developing musical material from I Got You Babe theme (Bono, S. (1965)), extract by Aidan Teplitzky
Figure 1.19 - It's Hard to Make an Oboe Sound Working Class, Example of stretching the duration of notes, extract by Aidan Teplitzky
Figure 1.20 - It's Hard to Make an Oboe Sound Working Class, Example of decreasing the length of the theme from I Got You Babe by Sonny and Cher (Bono, S. (1965)), extract by Aidan Teplitzky
Figure 1.21 - It's Hard to Make an Oboe Sound Working Class, Development of decreasing the length of the theme from I Got You Babe by Sonny and Cher (Bono, S. (1965)), extract by Aidan Teplitzky
Figure 1.22 - Budget Cuts to Faure's Piano Trio in D Minor, Bar 3 Cello melody, extract by Aidan Teplitzky
Figure 1.23 - Budget Cuts to Faure's Piano Trio in D Minor, Bar 28 repetition of Cello melody from Bar 3, extract by Aidan Teplitzky
Figure 1.24 - Budget Cuts to Faure's Piano Trio in D Minor, Bar 32 repetition of Cello melody from Bar 3, extract by Aidan Teplitzky
Figure 1.25 - Budget Cuts to Faure's Piano Trio in D Minor, Bar 102 repetition of Cello melody from Bar 3, extract by Aidan Teplitzky
Figure 1.26 - Budget Cuts to Faure's Piano Trio in D Minor, Bars 60 - 63 showcasing lengthening of Cello melody in Bar 3, extract by Aidan Teplitzky
Figure 1.27 - Baguette Baton, Bars 1 - 4 showcasing changing the duration of the musical idea, extract by Aidan Teplitzky
Figure 1.28 - Baguette Baton, Bars 12 - 15 showcasing repetition of musical idea, extract by Aidan Teplitzky
Figure 1.29 - Baguette Baton, Bars 32 - 34 showcasing instrumental layering of sung melody in unison, extract by Aidan Teplitzky
Figure 1.30 - Baguette Baton, Bars 41 - 43 showcasing instrumental layering of sung melody with harmony, extract by Aidan Teplitzky
Figure 1.31 - Escapism 1. Vice, Showcasing the keyboard playing Ab Melodic Minor scale in accordance with speed of film, extract by Aidan Teplitzky
Figure 1.32 - Escapism 2. Don't Look Back, Example of musical character constantly changing, extract by Aidan Teplitzky
Figure 1.33 - Escapism 4. Why Doesn't It Feel Like it Used To, Opening with Ensemble playing stab chords while the keyboard plays long held chords, extract by Aidan Teplitzky
Figure 1.34 - Escapism 4. Why Doesn't It Feel Like it Used To, Development of stab chords falling apart, extract by Aidan Teplitzky
Figure 1.35 - Escapism 3. Interlude - I Just Wanted to Write Some Music, Example of chordal motif in ensemble with keyboard providing rhythmic octave leaps, extract by Aidan Teplitzky
Figure 1.36 - Escapism 3. Interlude - I Just Wanted to Write Some Music, Development of chordal motif in ensemble with keyboard providing rhythmic octave leaps, extract by Aidan Teplitzky
Figure 1.37 - Escapism 3. Interlude - I Just Wanted to Write Some Music, E Melodic Minor riff that is layered across the ensemble while the keyboard plays stab chords, extract by Aidan Teplitzky
Figure 1.38 - Escapism 3. Interlude - I Just Wanted to Write Some Music, Development of E Melodic Minor riff that is layered across the ensemble while the keyboard plays stab chords, extract by Aidan Teplitzky
Figure 1.39 - Theme With Variations Forced by Expectations, Bar 125 example of detailing continued uncertainty within posh environments even after receiving a high level of education, extract by Aidan Teplitzky
Figure 1.40 - Theme With Variations Forced by Expectations, Bar 263 onwards detailing the awareness of personal changes due to code switching, extract by Aidan Teplitzky
Figure 1.41 - Theme With Variations Forced by Expectations, Opening theme in Eb Major, extract by Aidan Teplitzky
Figure 1.42 - Theme With Variations Forced by Expectations, Example of harmonic modulation through outfit changes, extract by Aidan Teplitzky
Figure 1.43 - Theme With Variations Forced by Expectations, Theme modulated to F# Minor, extract by Aidan Teplitzky
Figure 1.44 - Theme With Variations Forced by Expectations, Theme being sped up and slowed down to emulate feelings of uncertainty, extract by Aidan Teplitzky
Figure 1.45 - Theme With Variations Forced by Expectations, Note repetition, melodic fragments, and big dynamic contrasts, extract by Aidan Teplitzky
Figure 1.46 - Theme With Variations Forced by Expectations, Breakdown of theme to harsh noise, extract by Aidan Teplitzky
Figure 1.47 - Theme With Variations Forced by Expectations, Fusing extracts of the different variations into a single musical line, extract by Aidan Teplitzky
Figure 1.48 - The Weight of History and Background Etudes, Bar 16 example of copying the opening chords from Bach's Violin Partita No.2 (1717-1720), extract by Aidan Teplitzky
Figure 1.49 - The Weight of History and Background Etudes, Musical development achieved through rhythmic rocking of chords, extract by Aidan Teplitzky