Constrained freedom : using modes in a contemporary musical language

Abstract

This dissertation, along with the accompanying composition portfolio, investigates the approach of a composer using a single mode during the process of composition. The main focus of my arguments presented herein is to demonstrate that although I am free to compose what I want, on the other hand, I tend to restrict myself through using one single mode in each composition or movement. This limiting myself in terms of my compositions, therefore, is actually a way of expressing myself in a contemporary musical language. This dissertation is divided into three main sections, with the first being the commentary. The commentary will include a general introduction and literature review on modes in general. In addition, there will also be a general introduction, literature review and analysis of each portfolio piece. The second section consists of the portfolio which is made up by the four different pieces: one for solo piano, a chorale piece accompanied by a small chamber orchestra, a piece for a woodwind quartet and a final work for a large orchestra. Part three is comprised of audio documentation of the compositions; this can be found on the accompanying compact disc.