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This thesis is the result of practice-based research concerning the analysis and performance of solo recorder repertoire composed during the 1990s. Its purpose is to demonstrate that recorder music can support critical scrutiny, and that knowledge gained from analysis can develop a deeper understanding of the rational and empirical aspects of both structure and content, leading to compelling performances governed by, and reflecting, informed choices. This work includes a catalogue of solo pieces for the recorder composed during the 1990s, totalling 326 items, from which five have been selected for detailed analysis and performance. They are by: Peter Crossley-Holland; Calliope Tsoupaki; Donald Bousted; Gerhard Braun, and Maki Ishii. These pieces have been contextualised with reference to some of the important aesthetic concepts prevalent in the 1990s, particularly those regarding conservative and progressive ideas. Three methods of analysis have been used for the repertoire in focus: structural, paradigmatic, and parametric, leading to an understanding of the compositional process at both macro and micro levels. The repertoire demands a vast range of instrumental techniques, many rediscovered from historical treatises as much as from avant-garde style experimentation, including microtones, percussive, and vocalized sounds, providing a serious challenge to both the performer and the instrument. Each is discussed within the context of the selected pieces. The effects of globalisation at the end of the twentieth century are evidenced in the selected composers' use of ideas from many cultures, including historical references to early Western music, as well as to those of Japan and Indonesia. Specific references are made to Derrida and 'différance', and the influence of the Japanese aesthetic and structural principles of 'wabi sabi' and 'jo ha kyū'. |
