Much of my recent compositional output has been largely concerned with the exploration of musical time through the use of recursive musical forms which challenge our perceptions of time and space by viewing the same material from different angles and perspectives. Pieces such as four cycles (2004-6) for large ensemble and shifting light (2006) for orchestra make use of circular structures derived from contiguous note series to create a musical continuum that operates largely outside the confines of a more conventional teleological construct.
More recent pieces such as Repetitions in Extended Time (2008) and four studies for the musemes (2009) attempt to take this idea a stage further by dealing more directly with the opposition of static and mobile structures. Exploring high levels of repetition that draw on the pretext (as outlined by Hume) that repetition changes nothing in the object itself but does change something in the mind that contemplates it, these works deal explicitly with aspects of duration and memory; near and exact repetition operate in close proximity throughout and provide points of orientation and disorientation for the listener.
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