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Abstract

This submission, comprising a portfolio of seven musical works (and two appended supplementary works) with commentary, explores ideas of the uncanny in the context of the composer’s own work, in fulfilment of the requirements for the degree of DMus in Composition. The research was principally conducted through creative practice, as embodied in the attached scores and recordings, following established models of practice as research, which “privileges action as a methodological imperative” (Sjoberg and Hughes, ‘Practice as Research - Methods@manchester - The University of Manchester’). The purpose and aims of the written element are to document and discuss the composer’s approach to work in the context of the research question, in a mode of “late-stage reflexivity”, with reference to contemporaneous documents (diarised sketches), in an attempt to “make sense of [the composer’s] experimentation through reflection” (Leedham and Scheuregger, ‘The Purpose of the Written Element in Composition PhDs’, 81).

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music
Departments:	Doctoral Theses

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