Timbre-based composition

: exploration of drone-overtone singing with reference to Tuvan and Mongolian sonorities and its integration into Western contemporary compositions.

Abstract

This doctoral research in composition focuses on investigating Tuvan throat singing (khöömei), in comparison with Mongolian throat singing (khöömii) and its application in Western contemporary classical composition. This has been achieved through a survey ofethnomusicology and the inclusion of timbre-centrism in my compositions.

The ethnomusicological angle aims to discover exemplary research methods for khöömei bridging the oppositions of outsider (etic) and insider (emic) perspectives. Based on this goal, this research explores two examples of research approaches: an etic approach by A. N. Aksenov and the combination of etic and emic approach by Theodore Levin with Valentina Süzükei. Ultimately, this exploration underlines the importance of combining etic and emic approaches giving priority to emic perspective in the research of khöömei and its integration into experimental compositional practices. Additionally, this research finds that the political changes in Inner Asia have influenced the cultural maintenance transforming the art form and practice of khöömei. This ends up with developing khöömei as state or national art in each state that practises khöömei. This actuality is investigated not only by noticing the dispute over the ownership of khöömei among its holders but also by looking into the stylistic difference between Tuva Republic and Mongolia. However, this research concentrates more
on intrinsic personal diversity and creativity of khöömei performance supporting this idea with graphic analyses, which have become an influential vehicle in my music-making process. Finally, an in-depth study of Tuvan aesthetic in music “timbre-centred listening” is undertaken, and then methods of imbuing the sounds of nature into European-style composition are minutely traced.

On the compositional side, Tuvan ethnomusicologist Valentina Süzükei’s theory “timbrecentralism” has been tested as a valid musical system for contemporary classical music looking at the potential that hybrid music surmounts cultural appropriation. Various musical experiments with khöömei have been conducted in practical ways based on Tuvan musical aesthetics, new notation and technique applications, interdisciplinary approaches, and becoming a khöömei practitioner myself. Additionally, other ethnic and extended vocal techniques such as the Inuit vocal game katajjaq, vocal fry and "drone-partials vocal technique" (see Pegg 2024 forthcoming for the latter), as Stockhausen demands in his piece Stimmung, have been experimented with by myself and versatile vocalists within my compositions. This practical research is demonstrated in the concert recordings that accompany and should be considered as a part of this portfolio.

Date of Award	3 Oct 2023
Original language	English
Awarding Institution	University of Bristol
Supervisor	Michael P Ellison (Supervisor) & Neal J Farwell (Supervisor)