Borrowed Traditions portfolio of compositions with accompanying commentary

154 Pages·2016·15.4 MB·English

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UNIVERSITY OF SOUTHAMPTON

FACULTY OF HUMANITIES

Music Department

Borrowed Traditions
Portfolio of Compositions with Accompanying Commentary

by

Máté Csaba Szigeti

Thesis for the degree of Doctor of Philosophy

September 2016

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UNIVERSITY OF SOUTHAMPTON
ABSTRACT
FACULTY OF HUMANITIES
Music Department
Thesis for the degree of Doctor of Philosophy

BORROWED TRADITIONS
Máté Csaba Szigeti

The following commentary introduces six pieces written between 2012 and 2015,
during the period of my PhD research at the University of Southampton, UK. All of the
pieces discussed here are, on some level, concerned with the subject of borrowing, be it
the use of pre-existing musical material, or elements of different traditions,
compositional practices in a broad historical context. Different approaches are
represented in the ways the individual pieces refer to existing music, ranging from literal
quotations to stylistic allusions.
The commentary presents the ways these references are transformed, manipulated,
and re-contextualised in the pieces discussed. I also attempt to contextualise my music
through considering related works by other composers, as well as related debates within
postmodern theory. Today - partly as a result of globalisation - the concept of tradition
takes on a new aspect: it is less significantly defined by national affiliations, or
commitments to particular trends and movements that stem from regional
cultures/aesthetics. It is no longer something given, inherited; a multitude of traditions
are available to choose from and explore through the arts. In this spirit, the presented
works refer to a wide variety of musical traditions, from folk music, through Renaissance
polyphony, the German Lied to post-war compositional styles and practices.
The commentary includes a general introduction to the compositional techniques
lying behind the works presented as well as six analyses supplementing the pieces
included in my composition portfolio.

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DECLARATION OF AUTHORSHIP
I, Máté Csaba Szigeti declare that this thesis and the work presented in it are my own and
has been generated by me as the result of my own original research.
Borrowed Traditions. Portfolio of Compositions with Accompanying Commentary.
I confirm that:
1. This work was done wholly or mainly while in candidature for a research degree at
this University;
2. Where any part of this thesis has previously been submitted for a degree or any other
qualification at this University or any other institution, this has been clearly stated;
3. Where I have consulted the published work of others, this is always clearly
attributed;
4. Where I have quoted from the work of others, the source is always given. With the
exception of such quotations, this thesis is entirely my own work;
5. I have acknowledged all main sources of help;
6. Where the thesis is based on work done by myself jointly with others, I have made
clear exactly what was done by others and what I have contributed myself;
7. None of this work has been published before submission:

Signed: .................................................................................................................................
Date:

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Acknowledgements

I would like to thank the staff and students of the Music Department at the
University of Southampton for providing my research with an institutional setting. I am
much indebted to my supervisor, Michael Finnissy, and my second supervisor, Matthew
Shlomowitz, for their ceaseless support, guidance and valuable reflections on my work. I
am grateful to the University’s friends and alumni for their generous financial
contribution to my Postgraduate Research Scholarship. In addition, I owe thanks to a
great many people who contributed to my studies in various ways: my former tutors,
especially László Vidovszky, Gyula Csapó and András Wilheim, all the performers who
have been involved in rehearsing and playing my music, my friends and colleagues for
many eye-opening conversations, all members of my family for their patience and
support, and to my friend Peter Skuce for proofreading my commentary.
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Table of Contents
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1. Introduction ......................................................................... 1
2. Contextualisation .................................................................. 3
3. Chapter 1: Generated Lines. An Introduction to the
Compositional Techniques lying behind the Works presented ........ 13
4. Chapter 2: Analysis ............................................................. 25
4.1 Mylied ................................................................................................. 25
4.2 La cathédrale emportée ...................................................................... 33
4.3 Drei Deutsche Lieder ........................................................................... 41
4.4 Néma berkek ....................................................................................... 47
4.5 Nap.Futás .............................................................................................55
4.6 Út .......................................................................................................... 61
5. Conclusion .............................................................................. 73
6. Bibliography ........................................................................... 77
Recordings ..................................................................................... 81
7. Appendix ............................................................................. 85
7.1 A List of Compositions Written During the PhD Programme ........... 85
7.2 CD Contents ........................................................................................ 87
7.3 Music Scores for Pieces on CD 2 ........................................................ 89
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