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dc.contributor.advisorDoolittle, Emily
dc.contributor.advisorSweeney, William
dc.contributor.authorRobertson, Lisa
dc.description.abstractThis submission comprises a portfolio of 18 original compositions exploring relationships between humans and the natural environment. This musical examination, coming from a personal perspective, is mainly rooted in the natural environment with which I have the deepest relationship: the West Highlands of Scotland. A commentary outlines my musical language, where human sounds, including traditional music influences, interact with representations of natural sounds. It discusses how these interactions in the pieces illustrate and explore different human/ natural environment relationships. It details influences from my personal background and influential composers, including Hans Abrahamsen, Bent Sørensen and Igor Stravinsky, then explores each of the portfolio’s pieces in turn whilst examining each of eight sub-topics. Bheanna for flute, clarinet, viola, violoncello and piano and Sanderling for string ensemble, consider the first sub-topic, appreciation of my local landscapes. the light through forest leaves for solo violoncello, Seabird Cities for chamber orchestra, Birds of Migration for SSA vocal ensemble and of a liminal nature for chamber orchestra explore emotions/ spirituality prompted by nature. leum fèidh for symphony orchestra and Can we not hear the birds that sing? for solo violin, examine humans damaging the environment. Deglaciation for violin and violoncello, The Arctic Rose for two pianos, flightless birds. for flute, oboe, clarinet and trombone and to tell it like it is. for SSAATTBB choir refer to climate change. Machair for string quartet, the inimitable brightness of the air for flute, viola and violoncello explore environmental threats to my local landscapes. Lichen for string quartet and Heartwood for solo clarinet examine environmental guilt. Right to Roam for clarinet, violoncello and piano looks at land ownership and The Wet Desert: a Collection of Highland Perspectives for flute, clarinet, percussion, piano, violin and violoncello considers the cultural significance of land, concluding the exploration of human/ natural environment relationships.en_US
dc.subjectNatural soundsen_US
dc.subjectGaelic songen_US
dc.subjectClimate changeen_US
dc.subjectScottish Highlandsen_US
dc.subjectScottish traditional musicen_US
dc.subjectEnvironmental guilten_US
dc.subjectLand ownershipen_US
dc.subjectCultural significance of landen_US
dc.subjectHumans / Natureen_US
dc.titleA portfolio of original compositions exploring relationships between humans and the natural environmenten_US
dc.contributor.sponsorRoyal Conservatoire of Scotlanden_US
dc.contributor.sponsorSound Scotlanden_US
dc.contributor.sponsorNational Youth Choiren_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.publisher.departmentRoyal Conservatoire of Scotlanden_US
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Parts - Score: to tell it like it is; and Recordings: Seabird Cities, leum fèidh, flightless birds, Heartwood and Right to Roam - restricted permanentlyen

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