Howard, Robert Andrew. 2003. Ph.D. in composition: mainly for amateur musicians. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Abstract or Description

The focus of my research over the past five years has been on the composition of original works for musicians of widely varying standards. This commentary discusses the majority of works I have written in this period. My aim is to present a summary of research, collaboration, composition and performance of my music for both amateur and professional musicians.

The main interest in my work has tended towards composing for amateurs as research and written publications in this field are virtually non-existent. Similarly, though some established contemporary composers have contributed important isolated works, few have devoted a large part of their output to composing for amateurs. This is despite the fact that amateur musicians far outweigh professionals in number.

Following this introduction, a definition of the `amateur' in music is taken as an appropriate starting-point. There follows a selective overview of western classical music written for amateurs in the twentieth century, both in Britain and abroad. This serves to illustrate the essential contribution made by amateurs to the musical fabric of society, as well as my own personal interests. Such initial research also proved to be invaluable preparation for the composition of my own works in this genre.

The major part of the commentary discusses each composition included in the enclosed portfolio of scores and recordings. Many different genres are represented, from solo instrumental and vocal/choral works, to chamber music and large-ensemble pieces. An overall progression from works for amateurs to professionals can be traced via an intriguing `cross-over' area where such a distinction becomes blurred.

A variety of approaches and techniques are explored. Each work is summarised by focusing on a particular aspect of my composition illustrated by that piece. These range from visual art stimuli, the depiction of place or character and the quotation of other musics through to non-conventional notations and religious subject matter. Finally, my disparate compositional interests are further explored in a comparison of two orchestral pieces written for ensembles of highly contrasting standards: a Borough youth orchestra and a professional chamber orchestra. This is followed by a summary of two extended chamber works for professional musicians.

Throughout there is discussion of the many experiences I endured in having my music performed by such diverse musicians. Reference is made to current compositional trends and influences. The pre-compositional stage is outlined and there is some evaluation and analysis of most works. Practical issues with regard to writing for amateurs are confronted and insights are given into the collaborative process between composer, performer and conductor.

Recordings of all works are presented on compact disc. Obviously, a reasonable consideration of performance standard should be exercised in appreciating recordings of amateur musicians. Inevitably, mistakes such as wrong notes, missing or incorrect entries and intonation discrepancies occur. These are particularly noticeable when following the score. However, this is a natural outcome of working with nonprofessional musicians. Hopefully such errors should not detract from the overall performance or from an appreciation of the intended work. In the many instances where a work has received multiple recorded performances, the most technically accurate has been selected.

Item Type:	Thesis (Doctoral)
Identification Number (DOI):	https://doi.org/10.25602/GOLD.00033753
Keywords:	music, amateur, composition
Date:	2003
Item ID:	33753
Date Deposited:	12 Jul 2023 11:02
Last Modified:	08 Aug 2023 14:14
URI:	https://research.gold.ac.uk/id/eprint/33753

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