A portfolio of original compositions exploring relationships between humans and the natural environment

• Main Author: Robertson, Lisa
• Other Authors: Doolittle, Emily, Sweeney, William, Royal Conservatoire of Scotland, Psappha, Sound Scotland, National Youth Choir
• Format: Doctoral or Postdoctoral Thesis
• Language: English
• Published: The University of St Andrews 2024
• Subjects: Nature; Composition; Natural sounds; Environment; Music; Gaelic; Gaelic song; Gàidhlig; Birdsong; Climate change; Landscape; Scottish Highlands; Scottish traditional music; Environmental guilt; Land ownership; Dùthchas; Cultural significance of land; Humans / Nature; Sanderling
• Online Access: https://hdl.handle.net/10023/29532; https://doi.org/10.17630/sta/828

This submission comprises a portfolio of 18 original compositions exploring relationships between humans and the natural environment. This musical examination, coming from a personal perspective, is mainly rooted in the natural environment with which I have the deepest relationship: the West Highlands of Scotland. A commentary outlines my musical language, where human sounds, including traditional music influences, interact with representations of natural sounds. It discusses how these interactions in the pieces illustrate and explore different human/ natural environment relationships. It details influences from my personal background and influential composers, including Hans Abrahamsen, Bent Sørensen and Igor Stravinsky, then explores each of the portfolio’s pieces in turn whilst examining each of eight sub-topics. Bheanna for flute, clarinet, viola, violoncello and piano and Sanderling for string ensemble, consider the first sub-topic, appreciation of my local landscapes. the light through forest leaves for solo violoncello, Seabird Cities for chamber orchestra, Birds of Migration for SSA vocal ensemble and of a liminal nature for chamber orchestra explore emotions/ spirituality prompted by nature. leum fèidh for symphony orchestra and Can we not hear the birds that sing? for solo violin, examine humans damaging the environment. Deglaciation for violin and violoncello, The Arctic Rose for two pianos, flightless birds. for flute, oboe, clarinet and trombone and to tell it like it is. for SSAATTBB choir refer to climate change. Machair for string quartet, the inimitable brightness of the air for flute, viola and violoncello explore environmental threats to my local landscapes. Lichen for string quartet and Heartwood for solo clarinet examine environmental guilt. Right to Roam for clarinet, violoncello and piano looks at land ownership and The Wet Desert: a Collection of Highland Perspectives for flute, clarinet, percussion, piano, violin and violoncello considers the cultural significance of land, concluding the ...