{"id":{"repo_id":"kings","oai_identifier":"oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"},"canonical_url":"https://search.dev.ndltd.org/etd/kings/oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53","repository":{"repo_id":"kings","name":"King's College London","base_url":"https://kclpure.kcl.ac.uk/ws/oai"},"display":{"title":"Reactive Originality, Conflict and Co-operation, and Virtuosity: Defining the Contemporary Concerto","abstract":"An attempt to define the facets of contemporary concerto composition: a practical
exploration of modelling that investigates the roles of contrast (concerto) and cooperation (concertante) aesthetics and virtuosity.
Chapter 1 outlines what is meant by the term “reactive originality”, some
thoughts regarding the use and presentation of virtuosity in music and outlines the
difficulties of defining the facets of a modern concerto.
Chapter 2 charts the creative process behind the solo piano music, Scorpio,
Aeon and Solilodrama. Taking each Bagatelle in turn, technical analyses are used to highlight the role of the Piano Bagatelles as miniature studies, discussing the
compositional process behind them and their influence upon subsequent pieces. The final section covers how the Capriccio was conceived and how it can be seen as a culmination of the creative work up to this point.
Chapter 3 covers the composition of Introduction and Allegro, noting the shift
in focus from a single soloist to examining the ensemble as a virtuosic entity. Brief
analyses are used to cover its influences and creative processes and to outline how these pieces demonstrate a new focus on thematic unity.
In chapter 4, I demonstrate how The Death of Stars and ...a white haze through
which the moonbeams passed... use the lessons learnt in previous pieces to attempt to conclude the investigations into concerto and concertante idioms.
Chapter 5 discusses any conclusions that can be drawn from the completed
work and reflects on the impact that the project has had on my thinking, technique and artistic development as a composer.","abstract_html":"An attempt to define the facets of contemporary concerto composition: a practical<br/>exploration of modelling that investigates the roles of contrast (concerto) and cooperation (concertante) aesthetics and virtuosity.<br/>Chapter 1 outlines what is meant by the term “reactive originality”, some<br/>thoughts regarding the use and presentation of virtuosity in music and outlines the<br/>difficulties of defining the facets of a modern concerto.<br/>Chapter 2 charts the creative process behind the solo piano music, Scorpio,<br/>Aeon and Solilodrama. Taking each Bagatelle in turn, technical analyses are used to highlight the role of the Piano Bagatelles as miniature studies, discussing the<br/>compositional process behind them and their influence upon subsequent pieces. The final section covers how the Capriccio was conceived and how it can be seen as a culmination of the creative work up to this point.<br/>Chapter 3 covers the composition of Introduction and Allegro, noting the shift<br/>in focus from a single soloist to examining the ensemble as a virtuosic entity. Brief<br/>analyses are used to cover its influences and creative processes and to outline how these pieces demonstrate a new focus on thematic unity.<br/>In chapter 4, I demonstrate how The Death of Stars and ...a white haze through<br/>which the moonbeams passed... use the lessons learnt in previous pieces to attempt to conclude the investigations into concerto and concertante idioms.<br/>Chapter 5 discusses any conclusions that can be drawn from the completed<br/>work and reflects on the impact that the project has had on my thinking, technique and artistic development as a composer.","abstract_has_math":false,"creators":["Birch, Chris"],"institution":"King's College London","degree_name":"Doctor of Philosophy","degree_level":"Doctoral Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Keeley, Robert Ian","Milstein, Silvina Raquel"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-2-1","date_published":"2013-2-1","updated_at":"2026-07-24T02:44:34Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"],"render_values":[{"text":"oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53","href":null,"code":true}]}]},"links":{"outbound_url":"https://kclpure.kcl.ac.uk/portal/en/studentTheses/1ca1047f-14b8-44b4-af56-4d44737ffa53","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Keeley, Robert Ian","Milstein, Silvina Raquel"]},{"key":"dc:creator","label":"Author","values":["Birch, Chris"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2013-2-1"]},{"key":"dc:date.issued","label":"Date","values":["2013-2-1"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Music"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["King's College London"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://kclpure.kcl.ac.uk/portal/en/studentTheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Doctoral Thesis"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Doctor of Philosophy"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53","https://kclpure.kcl.ac.uk/portal/en/studentTheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://kclpure.kcl.ac.uk/portal/files/12495146/Studentthesis-Chris_Birch_2013.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["An attempt to define the facets of contemporary concerto composition: a practical
exploration of modelling that investigates the roles of contrast (concerto) and cooperation (concertante) aesthetics and virtuosity.
Chapter 1 outlines what is meant by the term “reactive originality”, some
thoughts regarding the use and presentation of virtuosity in music and outlines the
difficulties of defining the facets of a modern concerto.
Chapter 2 charts the creative process behind the solo piano music, Scorpio,
Aeon and Solilodrama. Taking each Bagatelle in turn, technical analyses are used to highlight the role of the Piano Bagatelles as miniature studies, discussing the
compositional process behind them and their influence upon subsequent pieces. The final section covers how the Capriccio was conceived and how it can be seen as a culmination of the creative work up to this point.
Chapter 3 covers the composition of Introduction and Allegro, noting the shift
in focus from a single soloist to examining the ensemble as a virtuosic entity. Brief
analyses are used to cover its influences and creative processes and to outline how these pieces demonstrate a new focus on thematic unity.
In chapter 4, I demonstrate how The Death of Stars and ...a white haze through
which the moonbeams passed... use the lessons learnt in previous pieces to attempt to conclude the investigations into concerto and concertante idioms.
Chapter 5 discusses any conclusions that can be drawn from the completed
work and reflects on the impact that the project has had on my thinking, technique and artistic development as a composer."]},{"key":"dc:title","label":"Title","values":["Reactive Originality, Conflict and Co-operation, and Virtuosity: Defining the Contemporary Concerto"]}]}],"canonical_facts":{"dc:contributor.advisor":["Keeley, Robert Ian","Milstein, Silvina Raquel"],"dc:creator":["Birch, Chris"],"dc:date":["2013-2-1"],"dc:date.issued":["2013-2-1"],"dc:description.abstract":["An attempt to define the facets of contemporary concerto composition: a practical
exploration of modelling that investigates the roles of contrast (concerto) and cooperation (concertante) aesthetics and virtuosity.
Chapter 1 outlines what is meant by the term “reactive originality”, some
thoughts regarding the use and presentation of virtuosity in music and outlines the
difficulties of defining the facets of a modern concerto.
Chapter 2 charts the creative process behind the solo piano music, Scorpio,
Aeon and Solilodrama. Taking each Bagatelle in turn, technical analyses are used to highlight the role of the Piano Bagatelles as miniature studies, discussing the
compositional process behind them and their influence upon subsequent pieces. The final section covers how the Capriccio was conceived and how it can be seen as a culmination of the creative work up to this point.
Chapter 3 covers the composition of Introduction and Allegro, noting the shift
in focus from a single soloist to examining the ensemble as a virtuosic entity. Brief
analyses are used to cover its influences and creative processes and to outline how these pieces demonstrate a new focus on thematic unity.
In chapter 4, I demonstrate how The Death of Stars and ...a white haze through
which the moonbeams passed... use the lessons learnt in previous pieces to attempt to conclude the investigations into concerto and concertante idioms.
Chapter 5 discusses any conclusions that can be drawn from the completed
work and reflects on the impact that the project has had on my thinking, technique and artistic development as a composer."],"dc:identifier":["oai:kclpure.kcl.ac.uk:studenttheses/1ca1047f-14b8-44b4-af56-4d44737ffa53","https://kclpure.kcl.ac.uk/portal/en/studentTheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"],"dc:identifier.uri":["https://kclpure.kcl.ac.uk/portal/files/12495146/Studentthesis-Chris_Birch_2013.pdf"],"dc:language":["eng"],"dc:publisher.department":["Music"],"dc:publisher.institution":["King's College London"],"dc:relation.isreferencedby":["https://kclpure.kcl.ac.uk/portal/en/studentTheses/1ca1047f-14b8-44b4-af56-4d44737ffa53"],"dc:title":["Reactive Originality, Conflict and Co-operation, and Virtuosity: Defining the Contemporary Concerto"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["Doctoral Thesis"],"dc:type.qualificationname":["Doctor of Philosophy"]},"updated_at":"2026-07-24T02:44:34Z"}