ROOTS to ANTITHESIS
Diversity and collaboration in contemporary guitar works
This research project aims to discuss the interaction between my role as the guitarist performer in the creative process while collaborating with non-guitarists composers. The main question governing this research is to identify how collaboration between the composers and myself impact the notation, interpretation, and identity of the new musical work. This research approaches a rarely explored perspective: focusing on the collaboration between composers that do not play the instrument they are writing for. It is equally important to be noted that the project involves a variety of musical genres, inviting composers from Brazil, Australia-Taiwan, Greece. There are five case studies resulting to six pieces: four case studies with non-guitarists composers and one comparative case study with a guitarist composer. Composers involved in the project include: Sergio Assad (1952), Belle Chen (1988), Petros Klampanis (1981), Iason Maroulis (1999), John Panagiotou (1995). The findings are intended to broaden the understanding of contemporary collaborative practices in the compositional process for the guitar. The research material (commissioned works) will not only extend the guitar repertoire into new and exciting territories but will also test the technical possibilities of the instrument and offer a range of solutions to problems. This project involves pro-active collaboration at all stages of the creative process.
About the project
The commentary document outlines key components, including discussions on authorship,
challenges in composing for the guitar, employed research methods, and detailed case studies
including the composers mentioned above. The commentary also provides analyses of the
collaborative patterns identified and reflective materials. The collaborative efforts have resulted in a portfolio of six new compositions across various guitar settings, each contributing to a nuanced understanding between myself and non-guitarists composers in the 21st century. The research methodology involves a practice-led approach, emphasizing the creation, interpretation, and communication of new musical works. Moreover, the appendices section includes interviews with all composers involved in the five case studies. Also, interviews of two major collaborative projects that took place through the Julian Bream Trust between (1) Laura Snowden and Julian Anderson, and (2) Diogo Carlos and Roxanna Panufnik, aiming for qualitative analysis of the collaborative process between high profile non-guitarists composers and performers in the 21st century. The dual role of the folio of recordings and the written commentary has been emphasized, with the former acting as a on-verbal conduit for conveying insights and findings, and the latter serving to critically reflect on the collaborative creative processes,acknowledging the inherent subjectivity in studying co-creativity.