Composing Confluence: Creating within the Intercultural Realm

Abstract

In this thesis I focussed on the key themes and questions: finding an intercultural music framework where contributing cultures are on equal terms; identifying the fundamental elements needed to compose intercultural music; and gaining an understanding the role of traditionality in Chinese music and how to use it to compose intercultural music.

The thesis combines composition, fieldwork, and action practice-based research approaches to explore intercultural compositional processes. I consider connections with ideas of traditionality and creativity, concepts of cultural insiderness, and collaboration, focussing on my recent compositions that utilise musical idioms related to Chinese, Singaporean Nanyang and Western contemporary music. Insights arising from my compositional process are contextualised with data and analysis from practice and research undertaken in Australia, Singapore, and China. I explain the evolution of my action research approach which involves embodiment and performance-based research to gain a greater understanding of Chinese music cultures which I use in my intercultural compositions.

The thesis covers three domains, each the subject of a chapter: Singapore, China, and Australia. My research related to Singapore seeks to gain insights from its rich multiculturalism and active music scene, drawing upon interviews conducted in Singapore with experienced composers, musicians, and academics working in the intercultural music space. I define Nanyang music, outline its history, and explain how it provides an excellent example of confluence in intercultural music. I explore the connection between my music and Nanyang music; Nanyang music as a model of intercultural practice and a symbol of a place with which I have a personal association; and the opposition of some traditionalists to blending traditionality.