Delicateness and freedom in composition : a cross-cultural exploration of timbre and texture through American minimalism and French spectralism

This thesis explores the intersections between American minimalism and the school of French spectral music, from the perspective of a bass guitarist. Whilst there is ample literature exploring key composers and features of American minimalism, and some literature exploring French spectral music and experimental bass styles, there is little scholarly discussion of the relationship between. Adopting a practice-based research approach, five new musical artefacts have been created to fulfil the portfolio aspect of this thesis. These creative works, three electronic improvised pieces, and two scored pieces, address this gap in academic knowledge. My thesis outlines and provides context for ethical border crossing and the creation of new hybrid territories applicable to practice-based researchers using the framework outlined by Steven Nuss. It illuminates the relationship between American minimalism and French spectralism, but also their connections to American nu-jazz, ambient, and electronic artists, and explores the potential of these musical elements combined. This thesis outlines the intersections through an analysis of pre-existing works, focussing on: rhythm and pulse, harmonic stasis, improvisation, and aleatoric elements. This is then followed with an analysis of each creative work within the portfolio, where these musical characteristics from each seemingly contrasting genre are brought together to create new works in a hybrid territory. The term ‘delicacy’ stems from my personal approach to bass playing, slow, small musical gestures, as opposed to large, focally demanding gestures as often adopted by bass virtuosi. The term ‘freedom’ stems from improvisatory elements incorporated across the creative portfolio, from the improvised series Concept:FUTURE’, to aleatoric elements in the notated works that allows performers to determine certain parameters of the creative works. Ultimately, this thesis shows, through the creation of new scored and improvised works, the inherent connections between American Minimalism and French spectralism, with added influence from electronic and improvising virtuosi, and explores what happens when these styles are fused together