Commentary
on the
Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham
by Mariam Rezaei, 2016

Abstract

The compositional practices in turntable writing as a solo and ensemble
instrument in the works of this portfolio are research based, exploring a variety of
methods to notate work in response to experiments. The challenges and
opportunities that have arisen throughout this development of composition have
directed the research along different routes, promoting the turntable as a musical
instrument in different instrumental ensembles. Devising a repertoire that did
not previously exist has in part developed the turntable as an instrument where
there are gaps in its history and also helped firmly established its place within
contemporary music instrumental ensembles.
Within this commentary, the defined techniques employed in the turntable works
are not simply derived either from hip hop turntablism or New Art turntablism,
but instead establish a synthetic practice. Skills from both traditions are mixed
together with fluidity in order to establish a new repertoire for turntable through
taught skills by developing a new ensemble of turntablists, NOISESTRA. This
approach, combined with experiments in graphic notation, brings together
performers in a new way, where established and highly skilled musicians work
with young performers in a community music setting, willing to experiment and
fail in search of successfully creating new sounds with turntables.
The research includes a working methodology of compositional process that
relates to popular teaching theories of Roger Hart, David Holb, John Stevens and
Neil Fleming. Observations from conventionally notated and graphic scores,
analysed writings of Katz, Smith alongside Brewster and Broughton broaden the
search for the appropriate means for which to notate for turntables both with and
without instrumental ensembles. Concluding that there is no one correct way to notate for turntable, I
demonstrate several notational methods including an adaptation of the 5-line
system in some compositions, and experiment with 2D, and 3D video graphic
scores in others, proving that there are advantages and disadvantages in each
individual context.
I evaluate my compositional practice and assess the success of strategies in
writing for turntable ensemble by comparing my initial theoretical ideas with the
practical experiments and results.
It is recommended that performers and readers of this work read the glossary
and notes in A Guide to Turntablism and Turntable Notations for Performers1 found
in the appendices before reading this commentary.