I have finally decided upon my repertoire selections (all except one) for teaching this unit of work. They are as follows:
|FOCUS WORK||Liza Lim||2009||Invisibility|
|Additional work||Paul Stanhope||2014||Jandamarra – This is our Home|
|Additional work||Bree Van Reyk||2017||Light for the First Time|
|Additional work||Chunyin Rainbow Chan||(not sure yet)|
|Additional work||Jacob ter Veldhuis||1998||Lipstick|
In exploring these works, I will also be drawing upon other compositions as to show the influence and development of the stylistic movements the are a part of.
I settled on Liza Lim’s invisibility after exploring quite a few of her works. Being a solo instrumental work, it provides contrast to the remaining works, while also making issues of analysis a little bit simpler (movement 3 in Tongue of the Invisible has triplet divisions which sit half on one beat, half on another!). It still showcases much of Lim’s style and innovation, particularly as seen with her use of both the guiro bow (hair wound around the wood of the bow) and the regular bow, microtonality and unique extended techniques. It also relates to the Australian focus being firstly composed by an Australian, and secondly, being driven by Lim’s experiences and understanding of Aboriginal culture, seen in her exploration of the aesthetic of shimmer. The only thing is, this work has already been included in a education resource kit distributed by the Australian Music Centre, and I was hoping to focus on a work outside of this kit as to contribute something new to the world of educational resources.
I otherwise selected works mainly focused on cross-cultural collaboration or transcultural experiences, as I feel this represents much of Australia and the globalised world in both the students’ personal experiences and in the landscape of creatively collaborating in the greater music field. Paul Stanhope’s This is Our Home represents a different model to the distributed creativity embodied by Lim, built instead from the traditions of Peter Sculthorpe (having studied under him) but including Aboriginal culture bearers in more of the decision making process. Chunyin Rainbow Chan’s music is impacted by her transcultural experience having moved from Hong Kong at a young age, however this influence is more consciously present in her installation work than her pop music, which I was hoping to focus on.
The remaining pieces were chosen as I felt they connected the repertoire choices nicely to one another, with Lipstick by Jacob Ter Veldhuis representing a model to combining recorded and synthesised sounds with those of acoustic instruments, demonstrating how notating them would work (necessary for HSC Music 2 students’ final composition assessment!). Bree Van Reyk’s Light for the First Time introduces the idea of indeterminate music and the use of extended techniques in a slightly more accessible and easily performed form compared to Lim’s Invisibility.
Therefore, I hope to structure my composition tasks building from one composition and model to another, so that by the final task, students have a pallet and sounds and possibilities that could be combined together into one synchronous composition.
Well that’s the aim at least… I think it’s time I get writing!