Investigating Recurrences in Andrew Lewis’s Penmon Point.

Abstract

Previous conference papers (Seddon 2007; Seddon 2008) have introduced the con- cept of recurrence in acousmatic music, outlining the key issues of this approach to musical investigation and analysis. To briefly summarise, this concept provides a view of structuring processes in acousmatic composition in terms of the constituent sound materials and any perceived connections between them. It also stimulates the consideration of, and engagement with, issues and parameters of cross-referencing between sound materials, providing a view of the music’s structure. Such an investi- gative approach aims to stimulate both analytical and creative strategies; existing works may be appraised in such terms, yet a heightened awareness of the various issues may usefully enrich the compositional process. This paper will discuss issues of recurrence in Penmon Point by Andrew Lewis (2002-03), using this approach to investigate a single composition. The paper will briefly outline the recurrence concept in terms of sound identity, memory and what might constitute a recurrence. Then, key sound identities within Penmon Point will be introduced, and the musical significance of various recurrences will be discussed. Recurring and varying spatial perspectives and spatial shifts will also be appraised, evaluating their contribution to the sense of structure. Finally, more abstract recur- rences and sound material connections will be explored, providing further avenues for musical contemplation.