CONFOUNDING EXPECTATIONS - INSPIRING MINDS CONFERENCE AT THE UNIVERSITY OF CALGARY

Constantine's latest article titled "Ann of a Kind: The Fusion of Minimalism and Dodecaphony in Ann Southam's Figures" is the culmination of a year-long research project on the music of the renowned Canadian composer. A portion of the research will be presented at the CONFOUNDING EXPECTATIONS - INSPIRING MINDS CONFERENCE - UNIVERSITY OF CALGARY. The conference will take place Monday May 3rd to Wednesday May 5th, 2010, at the Rozsa Centre (University of Calgary).



About Figures:
Figures, a one-movement concerto-like work scored for piano and string orchestra is perhaps one of Southam's most important works of the past decade. It was given its world première at the Massey Hall New Music Festival (Toronto, Nov.2001) with Gary Kulesha conducting the string section of the Toronto Symphony Orchestra and Canadian pianist Eve Egoyan as soloist.

This particular work is one that fuses two trends, both of which are known as technical and stylistic developments of the twentieth century (albeit they occurred in different parts of the century). The first is the twelve-tone system, and the second is minimalism. For the purpose of assessing how such stylistic
fusion has emerged, examples of earlier piano works by the same composer are discussed while illustrating how Southam's style has continuously evolved through the years. To show the continuity of this evolution, there are also references and examples of work finished after Figures.

Further to the above correlation and contextualization, a thorough analysis of the composition brings to light all elements that make up the entire piece: The examination and commentary on the harmony and counterpoint resulting from the use of the 12-tone row as well as overall form, reflects the sonic character of the piece as an experimental work of art. A brief comparison to the traditional concerto outlines several
similarities and differences, one of them being the relation to the cadenza principle of the traditional concerto and how it is manifested in Figures.

Ann Southam

Additionally, an exposé of the work, one that particularly showcases the different ways in which Southam freely and fearlessly crosses the boundaries between the two genres -often escaping the limitations found within each- presents minimalistic elements as found in certain key sections, offsetting the peak of my argument as to how 12-tone technique and minimalism are fused together to create Figures.

This is supported by outlining the continuous merge of the above, and how this is sustained through the use of several technical (often problem-solving) devices, resulting in the creation of a stylistically unique musical language. Finally, the summary of all elements found within the piece is discussed so to portray how style itself is challenged in Figures, culminating in the categorization of the work within a genre of its very own.
Constantine Caravassilis, Jan 2010