Chinese Calligraphic Thinking in my Compositional Work

This thesis discusses my exploration of Chinese calligraphic thinking in my own work, encompassing a majority of the work contained within my portfolio of compositions. The introduction begins with several questions which inform my research‟s investigation. Furthermore, the introduction elaborates on a variety of concepts related to Chinese calligraphic thinking and the work of other composers. Chapter one investigates potential relationships between calligraphic materials and musical gesture, focusing on the micro-level of musical gestural details and provides a catalogue of possible transformations between micro-level gestures and the array of brush-stroke techniques; touching on topics of density, intensity, and quality of ink as representative of the dynamism of the musical gesture. Chapter two explores concepts of Chinese calligraphic „time‟ and „space.‟ Additionally, the micro-level considerations of chapter one are expanded to consider large-scale issues of musical form. The last chapter explores one of the traditional rituals of the Lotud people and the performative nature of „staged‟ Chinese calligraphy. In the conclusion, I summarize my investigation of Chinese calligraphy, and its impact on my musical language, opening up a space of dialogue between Chinese calligraphy and my own compositional output.