Composing the Surface

‘Composing the Surface’ comprises a collection of ten instrumental works that explore issues relating to a performer’s engagement with a given instrumental interface. I consider the notion of ‘surface’ as the initial motivation for all of my portfolio, a catalyst from which I work outwards into visual art or music. I am concerned with focusing the listener’s attention on the performer’s interaction with their instrument by using a reduced sonic palette that is explored from multiple perspectives. The notion of performance ‘surface’ is examined in various ways such as the utilization of fixed hand positions, fluctuations of instrumental sonority resulting from micro-gestural changes and critiquing performance gesture through its translation onto other instruments. I will discuss these issues in three essays, ‘Approaching the Surface’ which presents an exposition of my concerns with surface; ‘Instrumental Interface’ will consider two distinct approaches to working with acoustic instruments; and finally, ‘Almost Unnoticeable’ which discusses an aesthetic for my work.