Portfolio of compositions with accompanying commentary

Abstract

The commentary focuses on the predominantly applied extraneous media in my music, that is, the inclusion of literary sources. The discourse begins with a biographical sketch (Chapter 1), followed by a succinct description of the concept of polymediality, which involves two dimensions: the work-immanent compositional and polymediality on the process of staging (Chapter 2).

Chapter 3 considers literary sources as a constituent component of music's polymediality. The first part is preoccupied with the implementation of textual elements and vocality in instrumental works, with special reference to the orchestral piece AKANTHAI. Simultaneously, this section elucidates a series of fundamental architectural tools and aspects of the music, encompassing (a) the methodological advancement concerning analogous relationships, (b) the processing of linear transitions and polyphonic settings depending on the model of imitative interaction, (c) the polydimensional articulation of homogeneity, (d) the aspect of permanent fleetingness, (e) the different facets of hybridization and their implications, (f) the question of the musico-literary intermediality form, and (g) the concept of polyaesthetics. To this extent, the commentary reports on a research aiming at elaborating the hypothesis that musical and non-musical elements, like the literary sources, are mustered from a diversified spectrum of coherent principles.

Turning to the example of the opera entitled DIE JAGD, the second part of Chapter 3 is concerned with the situative conditions resulting from the abrupt omission of the relationship to the libretto, whereby the focus is displaced 'outside' the textual frame of reference.

Chapter 4 briefly highlights the scope of three further text-related parameters of the music in conjunction with their aesthetic issues: the specified titles of the works, the delineated expressive nuances, as well as the descriptive commentaries and textual depictions found on the score. Furthermore, the chapter outlines the consequences of two-dimensional theatricality and meta-theatricality.

In conclusion, the commentary argues that the compositional procedure adopts literary references for the benefit of creating self-generated concepts. In other words, constituted within a plethora of musical and extra-musical elements, texts function as energetic catalytic stimuli; they become the key mechanism to enhance interactive
system performance amidst the music's structural-strategic and conceptual framework.

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