In late February I submitted my Master of Music folio comprising 6 works written from early 2016 till early 2018. I’ll skip a lot of the details on each piece as you can find them in my list of works, however I’ll spend some time reflecting on the various threads that tie each of these works together and a bit about the middle work Aposiopesis, which I recently uploaded to soundcloud: (a big thank you to BRON!)


One of the primary benefits of a Masters (or be that a PhD) is the time enabled to critically look at your own work – to understand what and why you’ve done as you have. I think prior to this I could broadly describe the many characteristics and preoccupations found within my output, however given the opportunity to search a little further, my accompanying commentary for the folio focused on what I eventually recognised as five core concerns within my work. These have been and continue to be:

  1. Heterophony
  2. Ornamentation
  3. Microtones
  4. Rethinking harmony
  5. Instrumental parameters

If anyone reading this is familiar with any works of mine, I think the first three are very apparent. I have my first principal teacher, Gerard Brophy, to thank for the profound influence that music of Turkey and the greater Middle East has upon my work. This rich and vast set of musical cultures quite naturally drew out my fascination with the first three concerns; especially evident in pieces such as The Sleep of Reason, Metamorphosis, Babbling House, and Ochrelîla.

I’ll add that although these are at the core of what I write, they are certainly not the only concerns; these really only focus on a somewhat music theoretical viewpoint. Neglected are the more extra-musical concerns and the very-musical concerns, in particular timbral-transformation, which I feel is also at the centre of my writing. This re-enforces the problem of categorising and making broad conclusions (even of ones own output) – it illuminates but equally leaves so much unsaid.

On to the fourth and fifth concerns of my little list: rethinking harmony and instrumental parameters. Largely noticeable from many of my work is the lack of harmony, or at least the lack of a stable harmonic bed. Enter my work Aposiopesis. Almost entirely harmonic in thinking, multi-movement in structure, simple panel-like gestures, and generally soft, subdued, quiet; this piece does almost everything I never do!

The harmony in this work arises out of a playful use of frequency modulation. At times this is a morphing bed of pitches that derive from a higher sum-tone (e.g. frequency A + frequency B = frequency C), and other times the entirety of the pitch material is derived from all possible combinations of say the first three pitches. Although at times frustrating and a little mathematical, I soon worked out what arithmetic would yield what pitches, thereby bringing my personal sound preferences back into the equation.

Aposiopesis Jakob Bragg page 2 excerpt
Excerpt from Aposiopesis

The last of the five concerns, instrumental parameters, I’ll talk about in more detail in another entry. However this is mostly what is described as decoupling; breaking down various musical parameters, instrumental and physical components, into independent lines or concerns. In Aposiopesis I barely scratched the surface with this, focusing on the quality of the tone; a spectrum from airy tone with barely any pitch audible, to a full bodied and rich tone. Rethinking these parameters and their increasing independence is something I explore much more in works Fragile Notions, and my latest work Territory ; Terrain.

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