COMPOSITION FOLIO

Composition 1

SEAN X. QUINN
1106189

MCM
University of Melbourne

Supervisor: Dr Melody Eötvös

Date: 19/06/2020
CONTENTS

This is a collection of works from this first semester of studying composition at the MCM. An array of approaches
were taken, none of which I believe to particularly traditional or rational. Each of them are standalone, aside
from the last which is part of a larger cycle of work I am currently writing. Overall, it is representative of my
endeavours to explore timbre and displacement in my music, as well as concepts such as controlled and free
improvisation being incorporated into composition, and the use of narrative imagery and programmatic
conceptualisation; as well as an underlying compositional anarchy.

starling sandbox – for Solo Piccolo [4’ 27”]

recording: https://soundcloud.com/seanquinncomposer/starling-sandbox

This short piece for solo piccolo, starling sandbox, presents the performer momentous fragments and
scatters them into four lettered groupings. Performers are invited, though loosely, to use the scaffold
of how to interpret the work; such as dynamics, tone colours and open structure. Each gesture is based
on hearing and transcribing – loosely – the birdsongs of starlings that live on my estate, and by using
various extended-techniques and their microscopic variations, I was able to create a sparse yet playful
texture; enhanced by the unpredictable format of “sandbox” mode, where the performer engages with
the score using a fluid scaffold to engage with the fragments – finding parameters within the freedoms
of proximity and dimensional interplay.

the interference of forces from the beyond – for Solo Prepared Guitar [4’ 12”]
recording: https://soundcloud.com/seanquinncomposer/the-interference-of-forces-from-the-beyond-solo-prepared-guitar

Built upon the acts of exterior elements of preparation and objects, the interference of forces from the
beyond is a work for solo prepared guitar that deals with issues surrounding the augmentation and
diminution of an instrument based on preparing it. Using blu-tack, a ceramic bowl and a
scourer/sponge, I was able to unlock a vast array of sonic translucencies in the guitar's body, and by
disintegrating the instrument down into an extended tablature, I was able to provide gestural graphics
as notation means, as well as using time-space notations to indicate use of "rhythm" throughout.

The work depicts a vast canyon, a sort of shrine or massed grave. Within, the corpses begin to sing
this chorus of screeching and howling. A 'koto'-esque variety of sounds emerges, taking in the
acoustics of the space and embodying the canyon as a mysterious entity within itself, with a final echo
and 'requiem' for the corpses.

A degree of improvisation came into the creation of the work, both in the discovery of sounds, but
also within the means of creating it. None of the notation is particularly defined, it merely provides a
scaffold of some possible results. The use of the preparations both limited and unhinged the traditions
of the guitar sound and made it accessible for players of any ability to engage with the music with
very little practice.

echo chamber – for Percussion Trio [approx.. 4 minutes]

The work echo chamber is a trio study in space, time and acoustics. Using the loosest means of golden
section form in the structure of the work and the concept of ‘imagined structures’ which harness the
use of the space in which the work is performed (a term I’m coining). The work begins with an irrational
tableaux, entitled ‘establishment’, which begins the conceptual “scalene” form of golden section, and
then leads into the second ‘chamber play’ section, where the ensemble is established and separate
entities are defined by a variety of timbral uses of the percussion at the performer’s disposal. This
 climaxes to the start of the “spooling-in”, deemed the ‘echoes’ section, where time and space become
relative, and actions and sounds previous used are reheard, as well as mimicked by other instrumental
forces. This final section also calls for a theatrical depiction of this “spooling” or “spiraling” inward
towards the central performer. This in short take the golden section form into a visual terrain, and
avoids any use of numerical values as a means of defining it.

interior/iridescence – for Solo Violin [approx. 4 minutes]

As part of my ongoing cycle of work, <<interior>>, the solo violin work interior/iridescence (2020)
embodies a sense of altering perspective on a situation, and in this case, it was the perspective of the
violin as an instrument. In this deranged collection of dance-like variations, I have sought to embody
a primitive quality of the instrument’s sound; breaking into distortions and use of microtones to
illustrate the ecological interruptions from a composer perspective, and also from a performer’s
relationship to the instrument. This was enhanced by the use of scordatura, which through
investigation of the Rosenkranzsonaten (~1676) by Heinrich Biber and Philtre (1997) by Liza Lim, I
was able to draw my own conclusions on how to detune the instrument to fit the palette that my
choice of devised mode would allow.

The structure of the work follows what might be considered a ‘Theme and Variations’ format, utilising
the module of the aria-esque theme to develop a disturbed set of “dances”, each observing the violin
from a different perspective; unveiling a sort of musical ‘iridescence’ that can be created. Harmonics
of difference qualities and locations expand the instrument, as well as the volatile dynamics that
constantly coerce the performer into adapting bow pressure, both when prescribed and in a
personalised sense.

mindplay - Fixed Media [7’ 39”]

recording: https://soundcloud.com/seanquinncomposer/mindplay-electroacoustic

Based on a former electro-acoustic work 'Electric Mouth' (2019), a reworking of it, 'mindplay' (2020)
forms the basis for an ensemble work I'm writing as part of my 'interior' cycle. The work was somewhat
inspired by Pierre Soulage's 'Lithography' series, as the contradictions of opacity and translucence
within these works is evident. The colour scheme, being mostly black, inspired the distortion of reality
in creating the re-work of this track.

The 6 channels of warped versions being thrust around in vigorous, violent and volatile manners are
used conceptually to represent different perspectives of the same information. The concept of reality
in this work is almost non-existent, and further plays upon the ideas of true distortion that 'Electric
Mouth' possessed; that nothing we say and do is in fact truly heard as it should be. How we feel can
be misconstrued by tone of voice, situation and eventually the meaning is drowned out - all concepts
that are discussed in this work. It is loud, it is arresting, and it is ruthlessly unforgiving. This is being
expanded into a work for ensemble 6-channel electronics for Melbourne-based Forest Collective
(2021).

I did my best with the limits during these times, and each of the works – the guitar piece in particular – are a
product of the experiences of lockdown. I normally work quite closely with players on creating new work, and
the debilitation of isolation meant that I was limited to what I knew or had access to, as well as who I knew.
The third assignment was the most difficult to grasp, considering the brief itself required a fair bit of
connectivity to even be considered viable. All of the other works were either devised by/for myself and/or were
run past numerous performers to test viability. This has led to national/international interest in all of the works
(aside from the 3rd). The final work was the “free choice” in my folio.