Helmut Lachenmann's Salut Für Caudwell: an analysis
This analysis of Helmut Lachenmann's Salut für Caudwell (1977) for guitar duet is intended to add to the small amount of English literature that directly examines Lachenmann's music. A description of Salut's construction is offered, decrypting the extended techniques employed and outlining the work's formal design. The concept of ‘musical ruins’, namely degenerative yet familiar material, is deployed as a means to discuss specific moments of the music, and it will be demonstrated that moments of ‘musical ruin’ are inherently linked to aspects of instrumental technique as well as the musical form, making them critical to the reception of Salut. Other analyses of Lachenmann's work are used as methodological models and comparisons, providing a framework within which to examine unfamiliar musical territory, and placing Salut within the repertory of Lachenmann's more thoroughly documented music.
Ruin Renewal: Manchester's Upper Brook Chapel
This essay offers a reflection on the development of the Upper Brook Chapel, Manchester. Taking Robert Smithson's concept of 'ruins in reverse' as a starting point, the essay attempts to articulate how the processes of ruin restoration can lead to an aesthetic that is more ruinous. The essay draws upon existing architecture and natural formations for comparison, before reflecting upon the social implications that arise from such redevelopment projects.
Ruin Renewal: Manchester's Upper Brook Chapel
This essay offers a reflection on the development of the Upper Brook Chapel, Manchester. Taking Robert Smithson's concept of 'ruins in reverse' as a starting point, the essay attempts to articulate how the processes of ruin restoration can lead to an aesthetic that is more ruinous. The essay draws upon existing architecture and natural formations for comparison, before reflecting upon the social implications that arise from such redevelopment projects.
Ruin Renewal: Manchester's Upper Brook Chapel
This essay offers a reflection on the development of the Upper Brook Chapel, Manchester. Taking Robert Smithson's concept of 'ruins in reverse' as a starting point, the essay attempts to articulate how the processes of ruin restoration can lead to an aesthetic that is more ruinous. The essay draws upon existing architecture and natural formations for comparison, before reflecting upon the social implications that arise from such redevelopment projects.
Mark Dyer // Composer
Mark Dyer is a composer and researcher working in new and experimental music.
His work explores the entanglement between borrowed material and narrative.
Mark has worked with ensembles such as the Arditti Quartet, House of Bedlam, The Riot Ensemble, Psappha and CoMA, as well as soloists Kate Ledger, Kathryn Williams, Jason Alder and Amy Jolly. In addition he has had work installed at HOMEmcr, Warrington Contemporary Arts Festival and the Street Road Artists Space, Pennsylvania.
Mark has attended several international residencies, including the 2019 Bilkent Composition Academy, the 2018 Defragmentation ‘Technology in Music Booksprint’ at the Darmstadt New Music Summer School, and the 2018 UKYA Cornish Weekender. Additionally, Mark has published widely in academic journals and edited volumes.
Mark is passionate about teaching and has taught at the Royal Northern College of Music, was Leverhulme Mentor at the Junior RNCM, and several sixth-form colleges.
Mark completed a practice-based PhD in Composition at the Royal Northern College of Music in 2021, supported by an AHRC North West Consortium DTP studentship.