A pluralistic spectrum of the mimetic

Abstract

Through the composition of ten pieces, I have explored the theme of mimesis and musical pluralism, especially as it occurs and applies in my own music. The following commentary begins by initially discussing my own context as a composer, providing an overview of the motivations that first prompted me to investigate and research this topic. After this background is explained, I examine key philosophical concepts connected to both mimesis and artistic pluralism, with the latter being chiefly concerned with how it affects the creation of new musical works. With the above issues having been discussed, this context effectively frames the next seven chapters of this commentary, which involves analysis and examination of ten works I composed for this doctoral degree. This begins with a thorough analysis of two chamber works and then moves onto an in-depth elaboration about a more expansive ensemble work of forty-minutes. After this discussion, I present a series of mimetically related works; compositions more theoretical in design and concept, yet still illustrating and building upon the central theme of this artistic research. Lastly, three other works are examined, demonstrating similar and contrasting compositional approaches. The concluding chapter of the commentary presents a succinct but thorough overview of the ramifications of the above compositions — focusing primarily on the relative success of these works, as well as their shortcomings, potential for future exploration, possible refinement, and overall connection to the theme of mimesis and musical pluralism.