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The notion of this piece came about through the fusion of a wide number of influences. First and foremost is my love for, and practical experience with, music that makes use of the electric guitar. I wanted to transform the guitar's role and context to fit the aural image I had for a meditative, expansive work that could evoke a sense of space. The harmonic constructions of incomplete or altered iterations of the overtone series was largely influenced by composers Gérard Grisey and James Tenney. The concept of integration of guitar and bass with more standard instruments from the concert hall is largely influenced by the work of Italian composer Fausto Romitelli and the tendency toward delicate sounds and subtle variation was inspired by the music of Morton Feldman.
A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music.
Includes bibliographical references.
Clifton Callender, Professor Directing Thesis; Mark Wingate, Committee Member; Evan Jones, Committee Member.
Florida State University
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