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dc.contributor.advisorNelson, Peter
dc.contributor.advisorMoran, Nikki
dc.contributor.authorLloyd, Emma Jane
dc.date.accessioned2018-07-20T10:39:17Z
dc.date.available2018-07-20T10:39:17Z
dc.date.issued2018-11-27
dc.identifier.urihttp://hdl.handle.net/1842/31382
dc.description.abstractThis thesis is structured around three key phases in the process of collaborative music-making—composition, preparation, and performance—examining the function of indeterminacy at each stage, and the way in which musical factors are determined. At what point in the creative process a musical decision is made, the path chosen, and critically, by whom the decision is taken, are all explored in the context of a portfolio of pieces performed and recorded as part of this practice-led research. The portfolio comprises recordings of projects undertaken with composers, as well as pre-existing repertoire, and the written commentary explores my creative role as a performer in relation to that of the composers and the other performers I have worked with. Practical issues faced in collaboration, practice, and performance are dealt with, as are questions of musicality, and the notion of success in musical performance.en
dc.language.isoenen
dc.publisherThe University of Edinburghen
dc.relation.hasversionEmma Lloyd and Matthew Sergeant. The instrument as a roughened canvas: embracing timbral indeterminacy in composition and performance. ATINER’s Conference Paper Series, (ART2013-0450), 2013.en
dc.subjectcontemporary musicen
dc.subjectcollaborationen
dc.subjectindeterminacyen
dc.subjectviolinen
dc.titleDeterminacy, indeterminacy and collaboration in contemporary music-makingen
dc.typeThesis or Dissertationen
dc.type.qualificationlevelDoctoralen
dc.type.qualificationnamePhD Doctor of Philosophyen


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