{"id":{"repo_id":"city-london","oai_identifier":"oai:openaccess.city.ac.uk:17282"},"canonical_url":"https://search.dev.ndltd.org/etd/city-london/oai:openaccess.city.ac.uk:17282","repository":{"repo_id":"city-london","name":"City University of London","base_url":"https://openaccess.city.ac.uk/cgi/oai2"},"display":{"title":"Seven towers: an orchestral cycle focused on different musical temporalities","abstract":"This dissertation examines formal aspects of a seven work orchestral cycle. The composition is structured as a series of distinct pieces which can be played either independently or as one uninterrupted musical performance lasting 78 minutes. The temporal dimension of music is a determining factor in both the composition of music and its perception by the listener. This issue is particularly acute in the case of such a substantial, uninterrupted musical statement; therefore I have had to examine questions of temporality in some detail whilst composing this cycle. In the following research I try to distinguish different temporal structures from each other and show how they can shape music differently. Temporality will be first discussed in a wider context within the field of music generally. This is followed by a discussion of the seven different types of time exemplified in the seven pieces of the orchestral cycle. To achieve coherence throughout a cycle of 78 minutes’ duration, one needs some linking elements. Some of these elements will be illustrated in the musical analysis of the cycle itself. This research aspires towards a deeper understanding of musical development in time. It is possible that the typologies might have a wider applicability and assist other composers to shape music over longer durations such as those I have employed in this cycle. This research can possibly also give some further indications as to how the listener might follow music over large spans of time.","abstract_html":"This dissertation examines formal aspects of a seven work orchestral cycle. The composition is structured as a series of distinct pieces which can be played either independently or as one uninterrupted musical performance lasting 78 minutes. The temporal dimension of music is a determining factor in both the composition of music and its perception by the listener. This issue is particularly acute in the case of such a substantial, uninterrupted musical statement; therefore I have had to examine questions of temporality in some detail whilst composing this cycle. In the following research I try to distinguish different temporal structures from each other and show how they can shape music differently. Temporality will be first discussed in a wider context within the field of music generally. This is followed by a discussion of the seven different types of time exemplified in the seven pieces of the orchestral cycle. To achieve coherence throughout a cycle of 78 minutes’ duration, one needs some linking elements. Some of these elements will be illustrated in the musical analysis of the cycle itself. This research aspires towards a deeper understanding of musical development in time. It is possible that the typologies might have a wider applicability and assist other composers to shape music over longer durations such as those I have employed in this cycle. This research can possibly also give some further indications as to how the listener might follow music over large spans of time.","abstract_has_math":false,"creators":["Marti, Cécile"],"institution":"Guildhall School of Music and Drama","degree_name":"other","degree_level":"postdoctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017","date_published":"2017","updated_at":"2026-07-24T01:39:30Z","subjects":["M Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Marti, Cécile"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2017"]},{"key":"dc:date.issued","label":"Date","values":["2017"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","Department of Composition"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["Guildhall School of Music and Drama"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://openaccess.city.ac.uk/id/eprint/17282/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["postdoctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["other"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["M Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://openaccess.city.ac.uk/id/eprint/17282/1/Marti%2C%20Cecile_Redacted.pdf","https://openaccess.city.ac.uk/id/eprint/17282/2/Marti%2C%20Cecile%20Seven%20Towers%201-7.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation examines formal aspects of a seven work orchestral cycle. The composition is structured as a series of distinct pieces which can be played either independently or as one uninterrupted musical performance lasting 78 minutes. The temporal dimension of music is a determining factor in both the composition of music and its perception by the listener. This issue is particularly acute in the case of such a substantial, uninterrupted musical statement; therefore I have had to examine questions of temporality in some detail whilst composing this cycle. In the following research I try to distinguish different temporal structures from each other and show how they can shape music differently. Temporality will be first discussed in a wider context within the field of music generally. This is followed by a discussion of the seven different types of time exemplified in the seven pieces of the orchestral cycle. To achieve coherence throughout a cycle of 78 minutes’ duration, one needs some linking elements. Some of these elements will be illustrated in the musical analysis of the cycle itself. This research aspires towards a deeper understanding of musical development in time. It is possible that the typologies might have a wider applicability and assist other composers to shape music over longer durations such as those I have employed in this cycle. This research can possibly also give some further indications as to how the listener might follow music over large spans of time."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Seven towers: an orchestral cycle focused on different musical temporalities"]}]}],"canonical_facts":{"dc:creator":["Marti, Cécile"],"dc:date":["2017"],"dc:date.issued":["2017"],"dc:description.abstract":["This dissertation examines formal aspects of a seven work orchestral cycle. The composition is structured as a series of distinct pieces which can be played either independently or as one uninterrupted musical performance lasting 78 minutes. The temporal dimension of music is a determining factor in both the composition of music and its perception by the listener. This issue is particularly acute in the case of such a substantial, uninterrupted musical statement; therefore I have had to examine questions of temporality in some detail whilst composing this cycle. In the following research I try to distinguish different temporal structures from each other and show how they can shape music differently. Temporality will be first discussed in a wider context within the field of music generally. This is followed by a discussion of the seven different types of time exemplified in the seven pieces of the orchestral cycle. To achieve coherence throughout a cycle of 78 minutes’ duration, one needs some linking elements. Some of these elements will be illustrated in the musical analysis of the cycle itself. This research aspires towards a deeper understanding of musical development in time. It is possible that the typologies might have a wider applicability and assist other composers to shape music over longer durations such as those I have employed in this cycle. This research can possibly also give some further indications as to how the listener might follow music over large spans of time."],"dc:format":["text"],"dc:identifier.uri":["https://openaccess.city.ac.uk/id/eprint/17282/1/Marti%2C%20Cecile_Redacted.pdf","https://openaccess.city.ac.uk/id/eprint/17282/2/Marti%2C%20Cecile%20Seven%20Towers%201-7.pdf"],"dc:publisher.department":["School of Communication & Creativity","Doctoral Theses","School of Communication & Creativity Doctoral Theses","Department of Performing Arts","Department of Composition"],"dc:publisher.institution":["Guildhall School of Music and Drama"],"dc:relation.isreferencedby":["https://openaccess.city.ac.uk/id/eprint/17282/"],"dc:subject":["M Music"],"dc:title":["Seven towers: an orchestral cycle focused on different musical temporalities"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["postdoctoral"],"dc:type.qualificationname":["other"]},"updated_at":"2026-07-24T01:39:30Z"}