Site-Specific Composition for Brass and Voice

Supplemental practice element of PhD thesis.

This research enquiry explores a range of appropriate creative methods to produce site-specific
participatory music performances in Cornwall. Using a practice-research approach, research
questions were identified, compositional and performance strategies were tested, developed and
implemented through five pieces. The research question identified is as follows:- What are the
creative methods (compositional, rehearsal, direction and performance) deployed to address the
challenges and opportunities of producing site-specific community-focused music performances in
Cornwall?
From planning to performance, each piece as part of the overall enquiry raised and identified a set
of challenges, issues and opportunities throughout the various stages of the process within each
piece. A practice-research (Nelson: 2013) methodology was used to offer appropriate solutions for
each of the research pieces. Through reflective practice, each piece's outcomes relevant to the
research question informed the next research piece. An iterative process was followed in each case
so that creative methods could be evolved and adapted to offer solutions for the proceeding piece
and in response to the overarching research question.
Throughout the research the brass band is used as the primary musical ensemble with added vocal
elements. Many of the site-specific pieces required performances that involved working within large,
often outdoor physical spaces. It was therefore an informed choice to work with instruments that
were resilient to weather, portable and acoustically directional.
Each of the five pieces presented a public performance and produced multiple forms of
documentation: musical scores, video, audio recordings and were accompanied by complementary
writing. The findings are summarised in response to the research question and appropriate sitespecific
compositional and performance solutions are offered.
It is intended that other artists exploring the field of site-specific participatory music performance
can draw upon and use the insights offered by this thesis and project portfolio. It may be that
creative practitioners in other artforms, such as visual arts, dance or site-specific sound installation,
may find the outcomes useful. It could allow them to develop strategies relevant to their specific
practice and thus permeate the insight into a wider field of arts practice.